'Hard Truths' Review: Unadulterated Cynicism in the Eyes of Mike Leigh [TIFF 2024]
Mike Leigh takes on the frustrations of life in his newest feature; darkly comedic and unrelenting, this film leaves the viewer with something to think about.
Mike Leigh returns to the screen with his latest feature, Hard Truths, that examines the life of a cynic as she complains through her daily life. While quite funny at the surface, her endless distaste with life starts to suggest something bigger at play. As she struggles to maintain relationships with her family, constantly criticizing them and failing to find pleasure in any area of her life, the humour inevitably begins to wane, and Leigh’s classic melancholic display of humanity takes centre stage.
Hard Truths stars Marianne Jean-Baptiste as lead character Pansy, who initially rose to prominence after her fantastic performance in Mike Leigh’s Secrets and Lies. She finds fault in everything in her life, and despite the constant voicing of her opinion, she is generally met with silence by sullen husband Curtley (David Webber) and withdrawn son Moses (Tuwaine Barrett). Curtley is quiet and rarely finds the energy to cater to Pansy’s needs, seemingly blocking out the familial turmoil that is so evidently boiling beneath the surface. Similarly, Moses is completely disconnected, spending entire days alone in his room or aimlessly walking the streets, keeping his head down to avoid attracting his mother’s endless frustration, albeit rarely successfully.
This dysfunction is highlighted even further with glimpses into Pansy’s sister’s (played by Michele Austin) life, a happy woman with a thriving relationship between her and her two daughters. Despite her sister putting forth serious efforts to connect with her, Pansy always keeps herself at a distance, focusing on the negative in, literally, every situation. Begrudgingly, Pansy accepts her sister’s advances to deepen their bond, setting her on a path of hesitant self-discovery.
Impressively, after Leigh creates rough ideas, he then develops his films through rehearsals, strictly avoiding improvisations, while also allowing the process of building the story to exist as a group effort. As confirmed in the Q&A that followed his premiere at the Toronto International Film Festival, the cast and crew dedicate months of preparation, and when deemed ready, shoot a final product. As seen in many of Mike Leigh’s films, his films are both reminiscent of stage plays and very genuine glimpses into real life; the emotion, passion, and authentic vulnerability of his characters make his films something to really appreciate. His characters are often unlikeable, with difficult traits and inappropriate behaviours, but this makes them undeniably human.
Typical of a Leigh picture, Hard Truths says a lot more beyond what is merely shown on screen; a take on the rampant cynicism and unhappiness, this film connects on a societal level. The pervasive displeasure with life has seeped into the hearts of too many people, and without being challenged, more and more people withdraw into themselves and lose touch with their humanity. The juxtaposition of two women living in similar circumstances, yet feel so differently, just highlights the importance of interpretation. Sister Chantelle is a single mother, balancing a busy life, and smiles through it all, while Pansy herself is too busy scowling. The message behind this film is an important one, and beyond audience laughter at Pansy’s ridiculousness, there’s a sense of dread that some of us may be living similar lives.
Despite Leigh’s skill and experience behind the camera, Hard Truths falls a little flat, especially compared to some of his more notable works. Indeed, it may be hard to match the strides of Naked or Life is Sweet; with such heights in his filmography, a solid film may struggle to hold up when compared to his classic works. Even simply comparing the cinematography between this latest work and some of his older films illustrates a difference in quality; the grainy, dark imagery of past films is quite missed when watching Hard Truths, which has an almost commercial-like quality. In addition, Hard Truths is a little too heavy handed, using a large majority of its runtime to continue to hammer home how much Pansy really is complaining. It’s humorous, but it becomes tiresome, and without the nuance that is only introduced later in the film, it slightly loses its effectiveness.
Overall, Hard Truths is a well-constructed film, heralded by a consistent performance from Jean-Baptiste. With interesting characterizations and a unique plot, this film will leave viewers questioning their own habits and grudges. This film finishes with a suggestion of hope, and while the viewer will likely feel sympathetic for Pansy, possibly drawing parallels to their own families and lives, they, too, can hope for better days to come.