Because movies are inherently political, there is always a contextual reference from the point of view “of the times”, but this can be overcome if the filmmakers are conscientious enough of the humanity of their characters. In the wake of the overturning of Roe v Wade, it would seem unsavory for a movie like that to come out right now. I understand why the film critic feels this way about Secrets & Lies. When someone considers a movie having poorly-aged, they often mean by the standards of today’s social view on things rather than the actual quality of the work or what the work is saying. It doesn’t feel nefarious or calculated to me but rather hopeful.ĭeadly Premonition Greenvale Map Information & Images The Variable and the Constant Secrets & Lies to me represents a tragic circumstance of a woman and the singular positive relationship she develops in spite of the system failing her. His working-class sensibilities operate in contrast to Ken Loach’s, where they try to depict life as-is and the political undertones of such tales are left open to conjecture rather than assigned as a thesis statement.
I’m not sure Leigh’s film really makes a point to speak an opinion on any contemporary political points on abortion access at all. I should also note the racial dynamics in this movie – the mom is white and the daughter is half-Black. The suggestion was that the mom in the film ( Brenda Blethyn) didn’t have access to abortion and thus, was forced to give birth to the daughter ( Marianne Jean-Baptiste) who she reunites with as an adult and the movie treats this as a blessing. Has Mike Leigh’s Secrets & Lies (1996) aged well? A film critic I really admire expressed in a tweet (which has been deleted since) that maybe it hasn’t, which got me thinking.
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