Pansy is a 50something Londoner in a roomy new flat that she keeps immaculate, married and wholly supported by her plumber husband of many years, Curtley.

And all Pansy does, from morning til night, is “rage, rage against the dying of the light.” Or the coming of the light. At her husband. Or at her depressed, perhaps “challenged” adult son. At her hairdresser younger sister. Or the clerk in the market. Or the other women in line at the market. At the dental hygienist, whose “How could I forget?” reply to Pansy’s hair-trigger furious “I’ve been here before” speaks volumes.

Pansy, one of the great creations of Britain’s working class bard, Mike Leigh and his “Secrets & Lies” muse, Marianne Jean-Baptiste, is a haranguing harpy — always shrill, often loud — her eyes bugging out in fury at the world.

“Hard Truths,” the fourteenth feature of the Grand Old Man of Kitchen Sink Realism, just might tell us what this Black Everywoman in today’s Britain is so very angry about.

Pansy is the polar opposite of laugh-my-troubles-away Poppy, Sally Hawkins’ Oscar-nominated pollyanna whose laughter hides her pain in Leigh’s “Happy-Go-Lucky.” It takes nothing to “set her off” because she’s constantly “off.”

Her listless son, the hulking Moses (Tuwaine Barrett), reads children’s books about airplanes with noise cancelling headphones on.

“Don’t you have any hopes or dreams?” He is “rotting your life away.” He takes long solitary walks to escape her.

“People are going to accuse you of ‘loitering with intent,'” she fumes. “My family’s NEVER been in trouble with the law!”

Sister Chantelle (Michelle Austin) is the last of that family. She’s a popular hair stylist among the women of Caribbean heritage in her neighborhood, a good listener and a single mom who’s raised two positive and positively ebullient career-women daughters (Ani Nelson, Sophia Brown).

Mother’s Day is coming, and Chantelle wants to pin perpetually-pissed-off-Pansy down to visit their mother’s grave. She’s been dead five years. Perhaps that’s an answer to the one question Pansy won’t answer.

“Why are you so angry?”

Her substitute doctor may be onto something when she suggests “Have you ever thought of cutting back on your caffeine intake?” Couldn’t hurt. Or could it?

Leigh has long been Britain’s foremost chronicler of working class life, struggles and relationships. Starting with “High Hopes” and “Life is Sweet,” powering through “Naked,” introducing us to the extended family of an abortionist (“Vera Drake”) in a Britain where that was outlawed, Leigh has let us meet “Career Girls,” families with “Secrets & Lies,” families faced with “All or Nothing” choices and the struggle to get through “Another Year.”

We learn about relationships through vignettes, improvised and then painstakingly rehearsed conversations and scenes he and his actors work out. They and we plumb human foibles and universal human wants, needs and dreams. We make connections with characters both eccentric and perfectly relatable in his films.

Jean-Baptiste’s Pansy is up there with Hawkins’ Poppy in “Happy-Go-Lucky” and David Thewlis’s drunken, raging Johnny in “Naked” — a character we recoil from, then start to understand despite the mystery of her misery.

Leigh, a seven time Oscar nominee, turns 82 on Feb. 20. “Hard Truths” is reminder that filmmaker/artists/observers of his stripe are once-in-a-generation, one-per-culture talents. If you want to take the pulse of a country or a segment of its society, you don’t look to Marvel hacks or the blokes who make Harry Potter’s train arrive on time. You go to an Ozu, a Leigh or Spike Lee, Campion, Holofcener or John Sayles.

And if we’re not producing and celebrating new versions of these indie icons, we’ll all be the poorer for it.

Rating: R, profanity, smoking

Cast: Marianne Jean-Baptiste, Michelle Austin, David Webber, Ani Nelson, Sophia Brown and Tuwaine Barrett.

Credits: Scripted and directed by Mike Leigh. A Bleecker St. release, now streaming on Apple TV, Fandango, etc.

Running time:1:37