Hard Truths review: No Oscar nomination for Marianne Jean-Baptiste is criminal

Through this profound character exploration, which is a specialty of Leigh’s, it’s clearly leaning towards the deeper and more complex side.

As a passionate cinephile, I find myself immersed in “Hard Truths,” a gripping tale set against the vibrant backdrop of present-day London, subtly echoing with references to our current times and the global COVID-19 pandemic. This is director Leigh’s remarkable return to contemporary filmmaking since his 2010 masterpiece, “Another Year.

After that, he embarked on a historical voyage with his film Mr Turner (2014) and Peterloo (2018), which depicted the 1819 Peterloo Massacre in Manchester. Both movies were impressive – especially Mr Turner – but it’s uplifting to see Leigh delving back into subject matter that feels more personal.

Since his 1971 debut “Bleak Moments”, he has consistently delved into the intricacies of everyday life in Britain, and “Hard Truths” continues this trend. Although it marks his first film with a predominantly Black cast, this exploration of an extended family falls squarely within his areas of expertise.

Once more, it showcases an exceptional acting job – Jean-Baptiste shines brilliantly as Pansy, a character growing progressively disgruntled with society.

At first glance, life seems good for Pansy, living with her husband Curtley (David Webber), who’s a plumber, their adult son Moses (Tuwaine Barrett) in a comfortable suburban home. However, it doesn’t take much for Pansy’s temper to flare up.

In a parking lot, she encounters a heated argument with another driver, an incident fueled by road rage. At home, however, she experiences minimal comfort. Curtly, typically reserved, scarcely speaks, perhaps disheartened by his wife’s actions. The heavyset Moses often retreats to his room or wanders aimlessly around town, plagued by bullying from other young men.

It’s not insignificant that Pansy has a sister named Chantelle (Michele Austin) who approaches life with optimism, reflected by her perpetual smile. Residing together with their two daughters, Ani Nelson and Sophia Brown, both of whom are achieving success in their respective paths, Chantelle dedicates her time to her career as a hairstylist at a local salon.

Regardless of her sister’s sour demeanor, she consistently keeps an eye out for her difficult sibling. In essence, she is the polar opposite to Poppy, a character portrayed by Sally Hawkins as cheerful in Mike Leigh’s 2008 film “Happy-Go-Lucky.

On Mother’s Day, tensions reach a peak as Michele invites Pansy to accompany her to their deceased mother’s gravesite. As the story unfolds, it becomes apparent that Pansy’s struggles stem from her past, particularly her childhood experiences.

Despite Pansy being hard to like, we find ourselves empathizing with her – largely due to Jean-Baptiste’s exceptionally empathetic portrayal, which brims with cunning. This marks her first collaboration with Leigh since their acclaimed 1995 film Secrets & Lies. Already, she has won the Best Lead Performance at the British Independent Film Awards and been nominated for a BAFTA for Best Actress. It’s nothing short of criminal that she hasn’t received an Oscar nomination.

In the hands of my long-term cinematographer, Dick Pope – who sadly left us in late 2024 – we crafted our last joint work, Hard Truths. This poignant portrayal delves deeply into themes of sisterhood, matrimony, and mental health.

In a more rephrased version: Some aspects and personalities are too reminiscent of existing ones; for instance, Moses bears a likeness to James Corden’s character from the 2002 film All or Nothing, while Pansy’s handling of anger seems similar to that of David Thewlis’s character Johnny in Naked (1993).

However, despite being a drama, it retains Leigh’s captivating style; not many directors possess his unique abilities, and “Hard Truths” demonstrates that even at 81, he remains a virtuoso in the realm of British realistic cinema.