As many of us can attest, the strains of daily living and the ghosts of our past can take their toll on us in myriad ways, leaving us frazzled, frustrated, depressed and perpetually angry. We may not like the emergence of those outcomes, as they can effectively isolate us from others, including those we’re thought to care most about. But those conditions can become so overwhelming that we can’t cope nor allow well-meaning others to step in and help us. Such is the case for fifty-something middle class British housewife and mother, Pansy (Marianne Jean-Baptiste), who constantly complains, yells and criticizes everybody and everything around her, including her hard-working husband, Curtley (David Webber), and withdrawn 22-year-old son, Moses (Tuwaine Barrett). Curtley and Moses have been so beaten down by her irate nature that they no longer put up a fight with her, reconciled to her unendingly ornery persona. In fact, the only family member who tries to understand Pansy is her younger sister, Chantelle (Michele Austin), who worries for her sibling’s state of mind and increasingly shaky mental health. It’s never made completely clear why Pansy acts out as she does, especially in terms of the exacting standards to which she holds others for everything, though there are hints that much of her relentless discontent is rooted in the pain of a past she can’t bring herself to relinquish. Some onlookers also contend that her behavior is little more than a way to attract the attention and sympathy of others, but there comes a point where their patience and tolerance run out, prompting them to give up and leave her to stew in her own anguish, a solution that brings her no closer to meaningful resolution. As with many of his other film projects, writer-director Mike Leigh again presents viewers with a character study of an individual who fruitlessly wrestles with her circumstances without direction and ultimately comes no closer to resolving them than where she was when the opening credits rolled. Consequently, some may find this a frustrating, repetitive cinematic experience, yet, to its credit, the film also paints a realistic, candid portrait to which many of us can probably quietly relate. In telling Pansy’s story, the filmmaker concocts an intriguing mix of comedy and drama, though the laughs generated here may prove to be not so funny as the protagonist’s saga plays out, particularly in terms of the impact she has on others and herself. To that end then, some might argue that “Hard Truths” offers us no easy answers or plausible solutions, but isn’t that often the case where working through life’s hard truths is concerned? While the character development here could stand to be a little stronger at times (especially in terms of back story) and some ancillary narrative threads could have been easily eliminated – elements not uncommon in Leigh’s pictures – this is arguably the director’s most intimate, heartfelt and accessible release. In large part that’s thanks to the film’s National Board of Review Award-winning screenplay and its excellent performances, most notably Jean-Baptiste’s award-worthy portrayal, one that has deservedly earned her BAFTA and Critics Choice Award nominations. Given the foregoing, this may not be the easiest picture to watch, but it’s sure to provide us with much to reflect upon both for others – and ourselves – as we seek to figure how to assess life and the challenges it presents us.