The film ‘Brutalist,’ as probably many would agree, would have suited Pansy, the main character, quite well. Pansy is neither an architect nor a person who feels well, in her old age. In Pansy’s case, the manner in which she interacts with everyone be it her family, grocery store cashiers, and furniture store sales people is somewhat exacerbated and large in scale and autonomous to say the least. For Pansy, anger seems to be the only means of social engagement, and that is what she remained consumed with throughout the course of her life.
One might wonder what could Pansy be angry at. Indeed the film could trouble you, Pansy tried to make sense of it when she bluntly stated she couldn’t figure it out. But as the audience, we must recognize the impetus of her sentiments: other human beings, society, and reality itself which are plenty.
The movies of Mike Leigh who is 81 years of age have an embers look combined with centuries of wisdom. His most recent project ‘Hard Truths’, a combination of ‘tragedy’ and ‘comedy’ depicting a character is a creative masterpiece, and surprisingly it was released late making it one of the few exceptional movies of 2024.
In one of Leigh’s admired films, Marianne Jean-Baptiste, who co-starred alongside him in 1996’S “Secrets and Lies”, makes an impressive comeback to Leigh’s universe. Unlike other filmmakers, it is quite unusual for Leigh’s movies to be self-extemporaneous, which is probably the reason why his movies give such a unique and direct feeling. He, alongside with his cast, spends months working on their roles, and like a director, they are also responsible for creating the story of the film. Many characters in Leigh’s films like Pansy have always had the perspective of ‘getting it out’. The modern life of England is not what fans of David Thewlis in the 1993 Naked would remember East London babbling “big outdated rubbish!” about.
Confessed, she is not absurdly fervent like Johnny. Everyone Tasks her to do something, and her concern is plain Jeanne’s blue-eyed blond with a quizzical laugh. Her far more pleasant sister, Chantelle, longs Lee Michele Austin, who has two adult daughters who are both robust and amusing. She isn’t very picky with regard to making sure she visits her and Pansy’s mother’s grave in a barber. Mother and Child like Planning an Outing to a Grave, is however, very great.
The fact of this simple journey and the degree to which Pansy steps out for it turns out to be the center of a huge story. The lies which Pansy makes concerning the date of her mother’s death are infantile, rude. More often than not it becomes evident that she is still grieving. Pansy’s sharp tongue is a thin cover and not a good one at that for her unbearable grief. We are taught that people inhabit by Pansy because they are hurting greatly inside. The film art fully and ethically illustrates the adage that “hurt people hurt people.”
P. Leigh’s oeuvre tends to be politically inclined; the one under consideration could use some accuracy but is not in the spotlight. Take, for instance, the point of view of a white director, who has been able to sew a dress with not more than two white characters and the story fits him and his crew like a second skin. This is not advocating any kind of universal humanism, but rather a plea for the defense of particularities. Or, cough, what fans of the superhero film genre call “World building.” The point being that the universe within which this movie operates is, after all, relevant to all of us. The world is a problem, as the politically progressive musical group Henry Cow once put it.
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