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- Secrets & Lies in the Age of Truth Social
Secrets & Lies in the Age of Truth Social
Last updated on: April 25, 2026 at 3:17 pm by Chase Padusniak
Secrets & Lies in the Age of Truth Social 2026-04-25T15:17:45-04:00 Chase Padusniak
Patheos Explore the world's faith through different perspectives on religion and spirituality! Patheos has the views of the prevalent religions and spiritualities of the world.
Mike Leigh
Source: Flickr, Photo Credit Chris Payne
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What makes Mike Leigh’s movies so beautiful and difficult is the way they resist easy description. If I were to tell you that his Secrets & Lies (1996) is about a young Black optometrist whose adoptive mother dies only for her to seek out her biological mother, who is a bitter, white factory worker with a lay-about daughter who sweeps streets for a living, you might look at me askance. Me proceeding, you might also wonder how a photographer uncle, a dusty canteen, and a scarred women bluntly communicating that she needs her wound to look “bad” for the insurance money fit in. The film is over two hours long, you see. And it’s lovely.
Mike Leigh’s plots often sound convoluted. With a few exceptions, his realistic visual style, quiet emotions, plain, working-class backdrops, and resistance to anything we’d typically call entertaining don’t exactly scream out for the viewer’s attention or interest. And so, we default to describing his process, trying to justify the hypnotic quality of his work. We appeal to his script-writing practice, which involves working out basics with actors and letting them develop their characters and emotions before crafting a screenplay. If his films don’t sound interesting, his process does.
But I think we oughtn’t sell him so short. Leigh’s films deal in maxims, truisms, if you like. Secrets & Lies, for example, tests one of our oldest: the truth will set you free. Leigh’s genius inheres in his ability to take this mundane advice—the material of a medieval sermon—and show its vitality for the modern world and its broken pilgrims.
The fact is that this racially confusing adoption is little more than a MacGuffin. Hortense (Marianne Jean-Baptiste), the adoptee, is doing well as an eye doctor. Whether she fails or succeeds in finding her mother has little to do with the emotional tumult that occupies the latter half of the film. Really, Leigh is interested in how secrets corrode familial relationships. One sibling has money; one doesn’t. One can’t become a mother, another can’t seem to stop being one, even if she isn’t doing a great job. Even his interstitial scenes exist to return to this truth.
When Maurice (Timothy Spall), for example, receives the former owner at his photography shop, it becomes clear that the man feels regret. He’s lied to himself about his abilities—both in photography and in life. Deceit may work; we may “get away with it.” But the spiritual and psychological effects of keeping up with lies always overcome us.
That last sentence feels odd to write at the moment. The Roy Cohn-patented technique of never apologizing and lying until the danger is through has proven quite successful in recent years. As I write, President Trump keeps truthing away, saying one minute that peace is at hand only to threaten nuclear holocaust the next. No one seems to know where our ships are, exactly what’s been hit, or exactly how many people have died. On the one hand, secrets and lies seem to have won. On the other, most (if not all) of us would prefer to believe Leigh’s version of events—that the weight of regret and deception cannot be adequately born, that the truth must out.
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