This film incisively and truthfully illustrates the trials and tribulations of mental illness, in this case ostensibly depression, and how it affects the loved ones of those afflicted. It is heartfelt, at times hilarious, and thought-provoking.
Marianne Jean-Baptiste as Pansy, a fitting name as she gives a vivid flowery performance, like the real-life eponymous flower, is excellent here at portraying a deeply troubled woman teetering on the brink of madness, hanging on by a thread. What could have easily fell into a caricature performance is the exact opposite: she feels so real, raw, and visceral, riding the line between sanity and insanity. She is at war with the world: the most normal petty inconveniences cause her to explode into hysterics, rage, and deep sadness; her reactions are sometimes so severe to the point she's at times unable to merely leave her bed. Michele Austin is great, playing Chantelle, the foil and sister to the lead. Where Pansy seems to be unhappy and unsuccessful, Chantelle is the opposite. Despite their differences, they support one another. And it's their sisterhood and camaraderie that functions as the film's anchor and centerpiece. The implication of their sisterhood is to drive home the point that family is key in life, a balm for the spirit. An interesting thing happens as the film furthers: the more time she spends with her family, the more irritated she becomes, but it's also the more open she becomes about her feelings. It's in these scenes with her family, particularly her sister, that she finally lets down her tough, gruff exterior to betray a soft, mushy interior.
The film, despite at its core being a darker and moving subject matter, has many moments of welcome levity and playfulness. The comedy and gravitas meld flawlessly to make for both touching and funny viewing. The only issue this film has is that the pacing unfortunately drags rather often. As there is no real plot here, besides following a middle-aged woman struggling mentally and existentially, the film feels very slice-of-life; the scenes unfurl with almost no change between when we first atart the film to when we finish it. This is compounded by the dense dialogue and the secondary stories not really adding up to much ultimately, albeit the supporting characters are all good. But that is likely the conceit here: it ought to be about illustrating a snapshot of this character. Despite recognizing her issues, Pansy very well may never get better and things likely will always look this way, unfortunately similar to how life itself is for many with mental illness.
Overall, this is a great film. It's poignant, with a powerhouse central performance, unexpectedly and serendipitously humorous, and provides a verisimilar portrait of dealing with mental illness.
