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Deux sœurs

Titre original : Hard Truths
  • 2024
  • R
  • 1h 37min
NOTE IMDb
7,2/10
7,2 k
MA NOTE
POPULARITÉ
3 536
597
Marianne Jean-Baptiste and Michele Austin in Deux sœurs (2024)
Ongoing exploration of the contemporary world with a tragicomic study of human strengths and weaknesses.
Lire trailer2:14
6 Videos
80 photos
Comédie noireDrame psychologiqueComédieDrame

Ajouter une intrigue dans votre langueOngoing exploration of the contemporary world with a tragicomic study of human strengths and weaknesses.Ongoing exploration of the contemporary world with a tragicomic study of human strengths and weaknesses.Ongoing exploration of the contemporary world with a tragicomic study of human strengths and weaknesses.

  • Réalisation
    • Mike Leigh
  • Scénario
    • Mike Leigh
  • Casting principal
    • Marianne Jean-Baptiste
    • Michele Austin
    • David Webber
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,2/10
    7,2 k
    MA NOTE
    POPULARITÉ
    3 536
    597
    • Réalisation
      • Mike Leigh
    • Scénario
      • Mike Leigh
    • Casting principal
      • Marianne Jean-Baptiste
      • Michele Austin
      • David Webber
    • 65avis d'utilisateurs
    • 116avis des critiques
    • 88Métascore
  • Voir les informations de production sur IMDbPro
    • Nomination aux 2 BAFTA Awards
      • 27 victoires et 55 nominations au total

    Vidéos6

    Official Trailer
    Trailer 2:14
    Official Trailer
    Hard Truths
    Trailer 2:15
    Hard Truths
    Hard Truths
    Trailer 2:15
    Hard Truths
    Hard Truths: Hairdresser (UK)
    Clip 1:30
    Hard Truths: Hairdresser (UK)
    Hard Truths: It's Ridiculous
    Clip 1:47
    Hard Truths: It's Ridiculous
    Hard Truths (Featurette)
    Featurette 1:35
    Hard Truths (Featurette)
    Hard Truths: Q&A From NYFF 2024
    Interview 20:05
    Hard Truths: Q&A From NYFF 2024

    Photos80

    Voir l'affiche
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    + 73
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    Rôles principaux28

    Modifier
    Marianne Jean-Baptiste
    Marianne Jean-Baptiste
    • Pansy
    Michele Austin
    Michele Austin
    • Chantelle
    David Webber
    David Webber
    • Curtley
    Tuwaine Barrett
    Tuwaine Barrett
    • Moses
    Ani Nelson
    • Kayla
    Sophia Brown
    Sophia Brown
    • Aleisha
    Jonathan Livingstone
    Jonathan Livingstone
    • Virgil
    Jo Martin
    Jo Martin
    • Nurse Salon Client
    Llewella Gideon
    • Smoking Salon Client
    Yvette Boakye
    • Salon Client
    Chinenye Ezeudu
    Chinenye Ezeudu
    • Salon Client
    Diana Yekinni
    Diana Yekinni
    • Hairdresser
    Elliot Edusah
    Elliot Edusah
    • Sofa Client
    Tiwa Lade
    Tiwa Lade
    • Sofa Client
    Alice Bailey Johnson
    • Furniture Assistant
    Gary Beadle
    Gary Beadle
    • Irate Motorist
    Diveen Henry
    Diveen Henry
    • Supermarket Customer
    Bryony Miller
    Bryony Miller
    • Supermarket Customer
    • Réalisation
      • Mike Leigh
    • Scénario
      • Mike Leigh
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs65

    7,27.1K
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    Avis à la une

    7dtswpod

    Lady Screams The Blues

    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?
    7lilianaoana

    Hard truths about family destroying your very soul

    Pansy is just like my mom for half the movie. Minus the wealthy house, the OCD and the crippling fear of anything nature, plus she only abuses immediate family, but is always super friendly outside the house. She toned it down in later years, but yeah, always unhappy with you, always criticizing and insulting you. Never a good word. Irritable at the drop of a hat. So this felt kind of familiar, but also very uncomfortable. Of course this woman's behaviour is extreme, and I don't blame anybody around her for "hating" her. I kept waiting for some big revelation, some deep-seated trauma, some tragic event in her past, severe abuse, something like that. She had a tough childhood, but nothing that would explain this. She might have some form of depression, but I haven't heard of this type of manifestation. Depression doesn't make you this mean, does it?

    Mike Leigh's movies end in some sort of revelation about the main character or we just naturally empathize with them, despite their flaws. This wasn't the case here at all, and I kept waiting for it. Nothing excuses Pansy's attitude in the end, and I could see parts of myself in Moses and Curtley. A person like this makes you act like that.

    Marianne Jean-Baptiste is undoubtably an immensely talented actress. But I do not get the point of this movie, unless it's meant to be a character study of a deeply unpleasant person and the hurt she causes everyone around her, in which case well done. The positives here are her sister Chantelle, an absolutely lovely woman and her two daughters. I wish the movie was about them really, but unfortunately it's not.
    7c528491

    Good film, hard watch

    Was this a good film? Yes. Did I like it? I'm not quite sure 'like' is the right word. There are parts which are comedic, where you feel like you shouldn't be laughing but can't help it because of the outrageous things that our protagonist Pansy spits out. But as the film goes on it becomes quite sad, like damn this is their everyday life and it's exhausting! It becomes exhausting for us too as viewers as we follow Pansy's day-to-day and witness conflict after conflict in every interaction she has. This is reinforced by the slow pace and lingering shots as we experience the characters' worlds in such painful detail. The acting is so good that makes it feel so real, almost as if I was watching a fly-on-the-wall documentary. Overall worth the watch. A reminder that you never know what is going on in others' lives..
    7filmephile

    Facing life's hard truths

    This film incisively and truthfully illustrates the trials and tribulations of mental illness, in this case ostensibly depression, and how it affects the loved ones of those afflicted. It is heartfelt, at times hilarious, and thought-provoking.

    Marianne Jean-Baptiste as Pansy, a fitting name as she gives a vivid flowery performance, like the real-life eponymous flower, is excellent here at portraying a deeply troubled woman teetering on the brink of madness, hanging on by a thread. What could have easily fell into a caricature performance is the exact opposite: she feels so real, raw, and visceral, riding the line between sanity and insanity. She is at war with the world: the most normal petty inconveniences cause her to explode into hysterics, rage, and deep sadness; her reactions are sometimes so severe to the point she's at times unable to merely leave her bed. Michele Austin is great, playing Chantelle, the foil and sister to the lead. Where Pansy seems to be unhappy and unsuccessful, Chantelle is the opposite. Despite their differences, they support one another. And it's their sisterhood and camaraderie that functions as the film's anchor and centerpiece. The implication of their sisterhood is to drive home the point that family is key in life, a balm for the spirit. An interesting thing happens as the film furthers: the more time Pansy spends with her family, the more irritated she becomes, but it's also the more open she becomes about her feelings; it's as though her family simultaneously causes her to not only face her issues head-on, but face the reality that she does indeed have a good support network, but often fails to take advantage of it. This brings to the film an interesting dynamic. It's in these scenes with her family, particularly with her sister, that she finally lets down her tough, gruff exterior to betray a soft, mushy interior.

    The film, despite at its core being a darker and moving subject matter, has many moments of welcome levity and playfulness. The comedy and gravitas meld flawlessly to make for both touching and funny viewing. The only issue this film has is that the pacing unfortunately drags rather often. As there is no real, significant plot here, besides following a middle-aged woman struggling mentally and existentially, the film feels very slice-of-life; the scenes unfurl with almost no change between when we first start the film to when we finish it. This is compounded by the dense dialogue and the secondary stories not really adding up to much ultimately, albeit the supporting characters are all good. But that is likely the conceit here: it ought to be about illustrating a snapshot of this character. Despite recognizing her issues, Pansy very well may never get better and things likely will always look this way, unfortunately similar to how life itself is for many with mental illness.

    Overall, this is a great film. It's poignant, with a powerhouse central performance, unexpectedly and serendipitously humorous and diverting, and it provides a verisimilar portrait of dealing with mental illness.
    7MattyLuke-81663

    LIFF38 2024 #6

    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!

    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Cinematographer Dick Pope had to undergo a major heart surgery prior to filming, with director Mike Leigh amazed he was able to work on the film at all. Tragically, it would be their final collaboration as Dick Pope passed away on October 21, 2024 at the age of 77.
    • Gaffes
      When the doctor is about to auscultate Pansy, she is using her stethoscope backwards; the rubber ends are supposed to go towards the front, not the back, in order to go slightly inside the ear.
    • Citations

      [Pansy and Chantelle are visiting the grave of their mother, Pearl]

      Pansy: Your memory of Pearl is not the same as mine. You, you had it easy. You were the favourite. You two thick as thieves, ha-ha-ha-hee-hee-heeing. And where was Pansy?

      Chantelle: She treated us both same way.

      Pansy: No, she never. She didn't support me.

      Chantelle: Yes, she did.

      Pansy: No, she never. I was good at maths. I was good with numbers. She didn't push me. Even in death, she chose you. I was the one who had to go round there and find her lying stiff in the bed, her two dead eyes staring at me. Accusing. Disappointed. "Oh, Pansy, what's wrong with you? Why can't you go outside and play? Why can't you make friends? Why can't you enjoy life?"

      Chantelle: Why *can't* you enjoy life?

      Pansy: I don't know!

      [long pause]

      Pansy: Haunted. Haunted.

      [long pause]

      Pansy: It's not fair.

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    FAQ18

    • How long is Hard Truths?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 2 avril 2025 (France)
    • Pays d’origine
      • Royaume-Uni
      • Espagne
    • Sites officiels
      • Bleecker Street Media (United States)
      • Official site (United Kingdom)
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Mi única familia
    • Sociétés de production
      • Creativity Media
      • Film4
      • The MediaPro Studio
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut aux États-Unis et au Canada
      • 808 122 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 171 840 $US
      • 12 janv. 2025
    • Montant brut mondial
      • 2 809 450 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 1h 37min(97 min)
    • Couleur
      • Color
    • Rapport de forme
      • 2.35 : 1

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