Review Of To The Bone (2017)

I’ve been away for a while so just a quick one in the shape of a new film review as part of what I apparently do (or should do) best as a film student. 🤔

Officially released two weeks ago becoming the latest Netflix phenomenon, debuting female director Marti Noxon’s To The Bone has sparked some heated and intense online discussion on the seemingly taboo subject matter of mental illness- specifically the representation and harsh reality used in its portrayal of eating disorders. Lead character Ellen (or “Eli”- as she later reinvents herself) has anorexia, with other illnesses addressed including bulimia, binge eating disorder, binge/purge disorder and other unspecified ones. Amongst this, the struggles of the immediate family and guardians surrounding the patients are documented through the forms of sexual confusion, Post Traumatic Stress Disorder and depression.

Promotional poster for Marti Noxon's 2017 Netflix Original debut film To The Bone.

Premiering at Robert Redford’s Sundance Film Festival in Park City, Utah back in late January, the organisation had this to say about it:

“It is not an especially pleasant movie to watch, but it is one that just might save lives.”

(http://www.variety.com)

The film was instead released as a Netflix Original production on the streaming site. Having heard mixed reviews from critics and audiences alike, I also chose to watch this film as its topic is very close to my heart. Because of this, I had three important questions in mind:-

• Does the film glamorise eating disorders and promote them as a lifestyle?

• Does the film accurately represent the experiences of somebody suffering from an eating disorder?

• Does the film validate the severity of eating and body dysmorphic disorders as a mental illness?

In truth, I believe you could answer yes to all three of these questions.

Firstly, I want to make it clear that eating disorders and their physical and emotional side effects are by no means a concept to be glamorised- and the film is very successful in keeping this in mind. However, the negative promotional use of particular material from influenced/influencing viewers to vulnerable groups of social media attributes to an unstoppable glamorisation. I was saddened to discover that large amounts of “thinspo” from the movie had already forced their way across Tumblr just days after its release. This will unfortunately end up reflecting badly on the film, but there isn’t much to draw upon.

You could probably count on one hand the number of full-body shots of Ellen’s emaciated figure and weigh-in, exercise and eating scenes that were used. This is all, of course- visual material and does not include some of the more dangerous discussions about and characterisations of the illness. Anyone can use quotes and information to share and practice in a negative way but the film gives us knowledge in an awareness-raising way with no glorification.

Despite this, the trigger warning at the beginning is undoubtedly essential. Even now- reading the parental guide for the film on IMDb, I was completely baffled by the emphasis on concern over whether or not any nudity or revealing body shots were sexualised before addressing that these shots were of physically vulnerable, skeletal, child-like frames. The thought that the possibility of any sexualisation would be exploited in a film of this topic shows the ignorant and uneducated state of the media and society.

Both the leading actress (Lily Collins) and director Marti Noxon decided to collaborate on this film, specifically drawing upon their own personal experiences with eating disorders to initiate a public discussion with the potential to help thousands of silent sufferers. You would be foolish to argue that the film is inauthentic coming from such a place of empathy, experience and intelligence.

I believe the film was accurate in its representation by being frank and open in its portrayal of suffering and isolation from “ordinary” members of society. You see this through Ellen’s well-meaning yet clueless step-mother, as well as her own largely absent mother. Her step-sister is perhaps the only character (particularly in group therapy sessions) whose concerns are truly selfless, however she does not understand that she simply cannot be cured just by eating again. There is even misunderstanding between housemates: Ellen’s insensitivity towards Pearl’s anxiety, housemate Megan feels the need to prove she is “sicker” than some of the others due to more experience in various hospitals, Luke gains knowledge of Ellen’s previous favourite food and taunts her in an unquestionably forceful manner before she finally snaps at him. This conveys society’s real-life misconceptions, ignorance and lack of compassion towards mental illness.

The way I see it (with some obvious exceptions) there are three main factors that commonly contribute to the development of eating disorders:

• Childhood- abuse, neglect or lack of attention and love (causing trauma in formative years)

• Media- cultural and societal pressures (we all know how powerful and damaging these can be)

• Genetics- contributing to obsessive and disordered behaviours

Media pressures within the dance and performance industry has likely played an important part in triggering the onset of Luke’s eating disorder, whilst Ellen’s chaotic and disjointed homelife and lack of real attention during her most influential years undoubtedly had some influence on hers.

Ultimately though, it’s a catch 22- no film is ever going to please everyone. Representations are completely different from different perspectives. It cannot be emphasised enough that there is no “look” to an eating disorder, many of the leading protagonists are depicted functioning physically and emotionally with more clarity than others. Many are self-deprecating, timid or reserved whereas others encourage themselves and others through confidence, humour and positivity (despite their bad days). Some clearly have more irrational thought processes concerning food, weight and general life than others. Put simply, nobody suffers or reacts to anything in exactly the same way.

The film certainly sparks some form of discussion concerning the importance and validity of the controversial subject matter. Good or bad- it’s raised awareness. It can definitely be sensed how uncomfortable it made box office and media promotion companies. Unlike films and TV series that focus in on and potentially glorify other mental illnesses such as bipolar disorder, self-harm and suicide, To The Bone is forced to physically emphasise illness at immediate face value. The media’s common solution of censorship hides these insightful perspectives away. This perpetuates the cycle of developing mental illnesses in a society where it is stigmatised. The physical symptoms of eating disorders set them apart from the growing acceptance and public discussion around less taboo disorders like depression in modern culture.

Mental health experts suggest that there is a particular form of voyeurism that we engage in as viewers, where films heavily feature therapy or other methods of professional counselling. In some ways, it’s that familiar notion of knowing you should look away or assume disinterest when you drive past a car crash or when somebody is being arrested, yet there’s almost a therapeutic pleasure to be gained from feeling part of it. Many of the more troubling scenes in To The Bone may make some viewers feel better about their own emotional and physical situations, where others may use it as a source of self-therapy. As Sundance puts it: “It never crosses into that toxically self-indulgent zone of therapy (...) instead it offers the world a film of wisdom.”

Despite this, reviews from sources such as The Guardian Online were quick to jump on it with accusations of the film’s glamorisation, triggering potential and trivialisation of eating disorders. Whilst much of the film of course has the ability to be triggering, I did not see it this way whilst watching. Compulsive and secretive behaviours such as purging and excessive exercise did not play as big a part as group therapy sessions and the structured recovery processes characters were undergoing. They were neither overemphasised nor trivialised. This is important as viewers see the characteristic struggles many eating disorders embody and some disturbing behaviours that the illness takes on, however focusing the plot on the characters’ promising journeys to self-discovery proves the film’s aim was to inform and educate sufferers and non-sufferers alike that with time individuals can make progress.

Without some of these sensitive triggers, it’s hard to portray a valid insight- but it’s done particularly well in scenes featuring discussion between characters of food and calories, purging tips, eating disorder codes and vocabulary. This focuses on the aspect of the illness and recovery rather than the expected evidence of excessive exercising, purging and in/outpatient hospital scenes that contain graphic exposure of emaciation.

Even if it’s only for those 90 minutes, for that period of time it is possible for unaffected viewers to tap into the emotions and mental challenges of eating disorders. Collins admitted it did solidify her own recovery and closure, as it similarly did for debut director Marti Noxon. Whilst portraying Ellen, Collins admitted some scenes were big eye-openers for her as she had never gone through any treatment processes to deal with her own previous struggles. It was taboo and never spoken about.

One particular scene **SPOILER ALERT** where Ellen returns home to her mother in Phoenix and is fed through a bottle whilst lying in her lap is especially haunting. We feel voyeurs, as if we aren’t supposed to be intruding in on this extremely private moment. It is disturbing, yet soothing. Alarming, yet comforting. For me, it was a deeply emotional scene showing the road to recovery isn’t comfortable and smooth the whole way and it is through this that realism is conveyed at its finest.

The media is uninformed. The amount of professional counselling advice and self-help information guides that cite eating disorders as “an intense fear of becoming fat” shows alarming ignorance. It goes deeper than that. A lack of control, a means of control, a sense of order or achievement in a world where it is seemingly impossible to see the meaning of anything. No wonder so many people remain uncured, commonly relapse or remain unfulfilled or unhappy: it’s a mindset. Recovery can only be possible once this mindset has been addressed and understood.

There are two moments in To The Bone that in my opinion epitomise this concept. In an epiphany-like scene, Dr. Beckham (Keanu Reeves) takes his patients on a day out to the “Rain Room” at Los Angeles Art Museum and time slows down as all the sufferers individually begin to realise life can be beautiful. Ellen is unsuccessful in being moved by this initially- and admits to her doctor that it hadn’t convinced her (though it had proved a pivotal point for many others). It’s kind of cliché but it’s necessary in embodying the act of cleansing process and the promise of a new start. The other scene shows Ellen in an out-of-body experience after fainting shortly after the feeding scene. She is dressed purely: all in white, hair done, colour in her cheeks and a healthy weight again. She is sat in a tree looking down in shock when she notices herself lying naked on the ground in a foetus-like position. She cannot believe the dying emaciated figure on the desert floor is her. This surely symbolises the beginning of Ellen’s recovery: her mindset has truly changed for the first time in the film so far.

Ellen takes her first bite towards freedom

Marti Noxon does well at teasing us with the possibility of a romance scenario between Ellen and fellow inpatient Luke (Alex Sharp)- especially as some may find a film of this topic challenging or too harrowing to watch properly without these added elements. Of course nothing is remotely happy-ever-after with eating disorders, but conventionally Ellen and Luke would continue into a blossoming romance and she would forge life-long friendships with all of her housemates as they all made full recoveries.

Obviously this is not the case. It doesn’t get all cheesy either. Ellen is not seen returning to college, fully recovered with her disordered days long behind her. But it’s not completely depressing as she does leave us with that glimmer of hope and certainty. Things will get better.

It’s shocking that when Noxon pitched the plot to potential producers she was met with many male executives claiming its only issue was that it wasn’t a valid or big enough subject matter. It’s appalling that the previous absence of films about specific eating disorders in the film industry has caused the topic to be one of such disinterest or irrelevance- and is consistently forbidden from being openly discussed.

Frequently dressed all in dark, baggy clothing, pale with dark eye make-up Ellen is the grungy dropout kid, the anti-social artist, the moody Tumblr girl. Many vulnerable viewers prone to the influences of triggering material may consequently have found themselves idolising and desiring this somewhat stylised isolation. Despite the longing for help and attention, in some ways this unique image may be somewhat comforting and appealing. Yet it is society that has created this image, the film certainly did not in making it evidently clear that Ellen was ill and unhappy. Luke reveals that even before he met her she had been his “muse” after discovering her online presence on Tumblr.

Could this be why these illnesses continue to exist within society and even result in their trivialisation?  Leading actress Lily Collins said that when approached by an old friend during filming she was not alarmed with her weight loss, even envying her:

“She said: ‘I want to know what you’re doing, you look great!’ That is why the problem exists.”

(http://www.eonline.com)

The problem, of course, lies within the media and society’s values of what is “relevant”, “desirable” or “worthy”.

The general public are very good at burying their heads in the sand.

Light at the end of the tunnel for Ellen as she marks the end of the film
 with a life-changing decision

And yet ultimately, battling through all these cultural obstacles, I think the film did a good job. It was mindful that personality type, gender, race and body shape/weight have no bearing on how severely you may suffer from a mental illness. People with depression aren’t always moody, shy or emotionally inaccessible. Anorexia isn’t a “girl’s disease”. Binge-Eating Disorder does not always mean “overweight”. No race is either “immune” to or more susceptible to suffer from a particular mental illness- despite it being less publicised within some ethnic groups. Not all sufferers look “ill”, they are not always emaciated or emotionally weak or frail.

As positive and progressive as this may be, “thinspiration” and “pro ana/mia” material relating to this new film was always bound to circulate the internet- generated by those who aspire to live this way or fear the change that comes from recovery. It is almost cliché (in keeping with the traditions of Tumblr) to find typically moody black and white gifs, photos and video clips quoting some of the film’s most depressing and troubling moments floating around  the website so casually.  The film itself references this specific blogging platform as a viral source of negative material.

It baffles me that already, just a mere two weeks after the film's release, such large quantities of negative and triggering content has emerged from something that has the ability to be so empowering and informative. With the internet impossible to censor and with such a wide space to make your mark (no matter how damaging or controversial) it is inevitable that the harmful content will match the quantity of promising, insightful discussion. The media is our most harmful and powerful tool, in the destruction of others and our own selves.

One thing the film possibly lacked was crucial emphasis on mental illnesses not being a fad that teenagers simply “grow out of” and forget about one day. Patient/doctor scenes in which the teenage protagonists visit their grown-up doctor or therapist for answers as to why they feel the way they do suggest this however.

Conclusively, this is a fictional film depicting one character’s experience and progression through an eating disorder. It is also not the journey I relate to, but it cannot do the impossible and represent everyone’s experiences. However, with the casting and direction of individuals with their very own traumas behind them to draw upon it can be assured that To The Bone is beneficial and authentic by illustrating the rawness and ugly realism of eating disorders and mental illness so often glossed over in society and disguised by the censorship of media.