Hard Truths

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!

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..

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.

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.

This isn't your typical storytelling-it doesn't follow a structured beginning, middle, and end. Instead, it's a character study of an isolated woman, played by the brilliant Marianne Jean-Baptiste, as it unpacks her relationships with her family and society. The contrast between her and her sister-and by extension, her entire family-is just fascinating to watch. The film tries to understand what drives someone to become so scared, angry, exhausted, and disillusioned with the world. I can't recall many films that visualize the impact of perspective on a person's life as masterfully as this one. So if you're expecting a dramatic beginning or a mind-blowing finale, forget it. This film is just the middle-but it's one hell of a middle, filled with complex characters, sharp humor, and moments of deep sadness. Just give yourself over to the experience and enjoy the ride.

While watching, I kept wondering: Why don't we see more films with rich, engaging conversations anymore? Dialogue in modern movies often feels like pure exposition-just people exchanging information. But here, every scene, whether packed with dialogue or completely silent, is alive with meaning. The visual storytelling is just as strong as the verbal. The cast is phenomenal, the cinematography is steady and intentional, and the editing is precise. There's so much raw emotion in every moment-love, fear, anger, sadness, joy, and everything in between. And one thing I hadn't felt in a long time while watching a movie? Genuine excitement about how a simple human interaction would unfold. There's this constant sense of anticipation because every conversation feels unpredictable.

Anyway, I had an absolute blast watching this. Not a single scene feels unnecessary or dull, even though the shots are deceptively simple. The music complements the tone perfectly, and the production as a whole is working at its peak. The only frustrating thing? Hearing that Mike Leigh is struggling to get his films made these days. He's a one-of-a-kind filmmaker, and whether you love or hate his work, you have to appreciate his unique vision. He tells the stories others don't. He cares about characters that most filmmakers overlook. Let the man cook. Give him all the funding he wants. Don't leave us hanging.