Deux sœurs

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.

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.

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?

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.