Hard Truths

Mike Leigh's Secrets and Lies was a brilliant film and his latest film Hard Truths is just as brilliant and stars the same actor Marianne Jean-Baptiste as the unforgettable, Pansy. Hard Truths is funny, heart-warming, sad, but most of all, very human. There's never a false note, the characters are so beautifully written and performed and I can't wait to see all the nominations Marianne is going to get for this role. It's definitely a film that will make you laugh out loud and cry, and you may not like Pansy but you will still enjoy every minute you're with her. See Hard Truths as soon as possible.

I was one of the few who felt that Leigh's films Mr. Turner and Peterloo represented the best in his career in cinema. He finally had a high budget and his artistic craft met them perfectly. Hard Truths is a step back from this scale back into the social dramas he used to make, although this feels totally new for him at the same time. If you have a dark sense of humor, you will find it extremely funny when she is nasty and yelling at everyone. They put her in one environment after another, almost like Mr Bean but she causes mayhem everywhere she goes. The furniture store, the doctor, the grocery store. I loved these scenes because the fouler she gets, the funnier the movie becomes. It is such a simple and ingenious idea. Yet outside of these comic vignettes, the film is extremely bitter. It is so well acted and well staged. The supporting characters around her bring the depth in their reaction against her forming a film where we are drawing our own meaning. It is another solid classic in his filmography that I will revisit.

Have you ever encountered someone-whether in your personal life or at work-who was utterly impossible to deal with? If so, be forewarned: this film might bring back unsettling memories. One of the main characters is an absolute terror, a person who seems to thrive on sowing misery and conflict. She wields her cruelty with precision, crushing the spirit of her child and husband until there's little left of their individual vitality. But she doesn't stop there. No, her toxic charm spills out into the world, leaving anyone in her path to contend with the emotional wreckage she leaves behind.

In stark contrast, the film introduces us to her sister, a character who could not be more different. Where the first thrives on malice, the sister exudes kindness, warmth, and a sense of grounded sanity. She serves as a foil, a reminder that even within the same family, people can embody profoundly different responses to life's challenges.

This contrast raises a central question: how can two people, raised in the same family, turn out so differently? The film dives into this mystery, exploring the forces that shape us-whether it's nature, nurture, or the choices we make as individuals. How does one person end up consumed by anger, while another finds the strength to let go and move forward with grace?

Final review of 2024!

"I don't understand you, but I love you."

Hard Truths is a welcoming return from legendary filmmaker/writer Mike Leigh.

I have no idea why this film was rejected from other festivals like Cannes and Venice because this was great. It is a depressing character piece where certain things in our past are left unresolved, and the unspoken hurt still picks away at us. Mental health issues are not just sadness and quietness but anger as well.

We follow Pansy, whose first-ever scene is her springing to wake after having a terrible dream, and from there, she is in a constant state of rage at pretty much everything. The littlest things can set her off into a rant. Her words/insults range from hilariously creative to having some truth to what she is complaining about. It mostly has to do with how people talk to her, with one example of a scene in a parking lot when another driver starts an altercation after rudely asking if she is leaving her parked space.

How about another scene where she goes to the dentist, and the woman doing the treatment talks to her in a manner that is not meant to be disrespectful and tries to ease the patient with friendliness during the process but can be seen as being treated/talked to like a child. Even Pansy says, "Don't talk to me like a child!"

But this is not a simple case of waking up cranky or having a bad day. It is something more than that. Judging by her family life, with her husband and son, they are all miserable, most noticeably her son and husband, who carry this heavy silence and hardly make eye contact. There is no love or comfort in the house.

On the other hand, Pansy's sister lives the opposite life; she is happier and has a healthy relationship with her children. Even her flat is more vibrant in colour and feels more inviting.

Marianne Jean-Baptiste is terrific here, and what could have easily been a one-note performance is, instead, a devastating but exhausting performance of a woman who needs a lot of help. But she is still someone you want to avoid if you are in close contact. Even her angry outburst tires her out.

It is a very human film with beautiful writing and acting. The film shows the sad reality of how our mental health can isolate us from other people, even our own family. There is no concrete answer to why Pansy is like this. There are little crumbs of a backstory, but it is left open-ended. Situations like this are like the ocean: it is much deeper than it looks. The cinematography from Dick Pope (RIP) is subtle and nothing too flashy.

This movie and another film I saw at this festival, A Real Pain, almost feel similar in terms of a complicated family dynamic and the different lives the characters lead, where one is happier than the other.

Overall rating: The ultimate feel-bad movie of 2024.

Well, 2024 is done and dusted. I hope you all had a great year, and if not, I hope 2025 is better for you. I will see you there. Take care, everyone!

There's a crisis in the family. Marianne Jean-Baptiste is ripping into everyone: husband David Webber for his choice in business partners, son Tuwaine Barrett for being twenty-two and still eating peanut butter and jelly sandwiches, sister Michele Austin for wanting to know if she's going to be with her on Mother's Day when she goes to their mother's grave, sales clerks, doctors, dentists, the fox that's gotten in the back yard, birds. And she's scared and just wants to sleep.

By the end of this movie, I was convinced she had brain cancer that was depressing her past all bearing. But this is Mike Leigh's first movie in half a dozen years. That means you know you are going to get great performances; and Miss Jean-Baptiste certainly gives one here, not caring if anyone likes her. Most of the rest of the cast is reduced to silence, but Miss Austin keeps sweetly not taking no for an answer until she gets some answers. And those answers are as unhappy as the rest of the performance.

I can't recommend this movie to anyone who wants a story with a sense of closure one or another. But if you want to watch a human being in honest pain for an hour and a half, here's your chance.