The single consistency of the 50 -year -old Mike League profession can be expressed by films for both the large and small screen simply by their titles. From the useful title in his dark moments for the first time in 1971 onwards, after another year, the intense Lege of ordinary people will absorb emotionally naked, and revealed their hopes, high dreams, secrets and lies. Relationships, family and others, which can provide a lifeline or gallows; Everything or nothing. Life is sweet, but also bitter. It only deals with me and his amazing ilk in the difficult facts-which are obtained.
If this indicates the possibility of a specific exchange of the topic and the topic – and it is clear that there are many exceptions to this rule, especially his newer films, Mr. Turner (2014) and Petrole (2018) – which harms the privacy of the vision that was revealed in every individual work.
Here, for example, for the first time focusing me exclusively on the British Affrio Caribbean families, and mainly two middle -aged Bansi (Marianne Jean Pbtist) and Chantel (Michelle Austin), and their young adult children and Bojan Bansi (David Weber). The idea of the white director who focuses the black life of the British may make some caution; But the overwhelming cooperative process, why enables the actors to embody them and possess their creations.
Difficult facts are the first role of committees Peptest since the outbreak of the Academy Award for Secrets and Lies (1996). Pansy is a shocking contrast with her personality in this movie, patient, Hortense sympathy. It publishes Vitriol in all arrivals, and you only see the worst in everyone and everything. It is no wonder that a plumbing is working for their own account and his son Al -Mundhdad, the unemployed son, revolving around her in despair of anxiety. Looking at her five-letter flowers, it is tempting to see Pansi is the downside of eternal poppy porch in Sally Hokins in Leigh’s Happy-GCKY (2008).
On the contrary, Chantel is a cheerful and fun hairdresser who runs her own salon and is close to her vibrant daughters, Elisha (Sofia Brown) and Kayla (Annie Nelson). It is clear that a shared, shared, tall, tight, not included, is not financially non-financial in her modern, disinfectant-but they are a joint and loving house, while Pansy resembles a dragon guarding prisoners inside, but a castle without a soul.
Because this is Mike Lee, though, the cloud bridge is slowly reduced, allowing us to see the desperate, trapped woman besieged inside. It appears to be terrifying and bacterial, and it may suffer from Obsessive also; There is a prefably traumatic shock, connected to her childhood and late mother, Pearl. But not even Bansi can determine the reasons for her feelings. “Why can’t you be happy?” Chantel sends. Her sister’s answer: “I don’t know!”
It is not completely Moroz: the Leigh Tragicark Tragicomic Mix is the most in the outrageous insults that PANSY launches, not less funny than the runner-up of Jean-Popest. It is a performance that does not know fear, and perhaps wrapping it is a great moment when you laugh and cry somehow at the same time. It matches a step by Austin – another old warrior in Lee, with roles in secrets and lies, as she was the best friend of Ertense, and another year (2010); Their scenes together, haunted by a common past, were not resolved, are the high points of the film.
It is not customary for other narrative threads to appear, especially individual scenes with their children, and other major characters, relatively backward. Some procedures and reactions later by Webber’s Curtley, although with his wife’s attacks, he feels frustrated. Bar Career Girls, in 1997, the difficult facts are much shorter than anything that Leg had done after 1990. It was always proud that his creative independence and diligence guarantees the appearance of each movie exactly as he intends to see it. But it is difficult to get rid of an annoying feeling that some additional scenes may have been made to reduce almost more final.
Elsewhere, the aggressor collaborators offer familiar pleasures-the elegant result of Harishon, and an unobtrusive but accurate frame by the late cinematography and traffic Dick Pop-is prohibited and organized by the Mother’s Decisive Day gathering with experience. It is easy to take a work for me as a Muslim in it, and even simple key projects like this, but the most difficult of all is the extent of his lack of compensation in British cinema. Very few other contemporary film makers in this country are extremely ready to confront people who express care and dignity who cross the way to avoid them, and to exposure to the threads of their fragile lives. Meanwhile, work continues for me.
► Difficult facts Available in UK Cinemas from January 31.