Short Film Review: ‘Hard Truths’ (2023)
★★★½
Drama (15 minutes)
dir. Maya Ahmed
Starring: Paige Hoover, Joy Kapp, Ira Cross, and Timothy J. Cox
“Peter Gibney is a long time agent who is known in the modeling industry for being kind, generous and supportive of the people he represents. Model Hope Harmon has been with Peter the longest of all his clients, close to 15 years. They have a very close, familial relationship and as a result, have made each other very successful. There is a major clothing client, Braden-Willoughby, that Peter has been trying to book Hope with, but the client has confided to Peter that they are not remotely interested in Hope, unless she were willing to undergo, in their words "dramatic changes". While visiting Hope on the set of her latest photo shoot, Peter tries to carefully discuss some hard truths about her future as a model.”
— Official Synopsis
What makes Maya Ahmed’s latest film impressive is the naturalization of on-screen language. Hard Truths has an unconventional approach to filmmaking in that improvisation was the primary technique used for scripting. What’s even more amazing: you can hardly tell. Paige Hoover and Timothy J. Cox cut through the screen with jagged intentionality—as if cutting through butter. Long-time talent agent Peter (Cox) is tasked to deliver some devastating news to his client Hope (Hoover), about her potential future in the modeling industry. Unbeknownst to Hope, the words are a sour reminder of the double standards held by the entertainment industry. The two must navigate the turbulent situation together and find resolve.
Thomas Angeletti’s lighting and framing of the emotional climax evokes an even clearer picture of the two’s long history together. At once delicate and soft, almost as if the audience is there to nurture these two individuals who have been jaded by distant memories. Both Cox and Hoover exude control over the heightened intensity of frustration—and command the silence, as well. I don’t think there could have been a better pairing for this particular project. Improvision can sometimes render a film null because the potential for failure seems to be inevitable; anyone who has previously shot a film understands this.
Ahmed, though, balances the improv with a calculated ease through modest direction. However, what would this have looked like with a touch more cohesion? While the film certainly does feel deliberate, a more scripted form would have allowed for a transparent attachment to the characters and narrative within. Just an extra ounce of sentiment that could have elevated an already great exploration of character. Nonetheless, Hard Truths proves that once a foundation has been laid and the camera is rolling, the filmic possibilities are [nearly] endless.
