The film adaptation of ‘It Ends With Us’ was a long anticipated release with the book bringing with it its built-in fan base. Their expectations created a challenge, but the production also had the enormous task of how to deal with the central theme of domestic violence in media.
Starring Gossip Girl’s Blake Lively, the story follows incredibly closely to the source text and so called CoHo fans cannot complain. After the loss of her abusive father, the protagonist Lily Blossom Bloom spontaneously opens her dream flower shop – her character appropriately named for her profession. Amidst all this, she meets Ryle Kincaid, (played by Justin Baldoni, also directing), a commitment-phobe and dreamy looking neurosurgeon, and both quickly become besotted. But after Lily’s lover from the past, Atlas Corrigan (Brandon Sklenar) reappears, feelings reignite and wake Lily up to the unfortunate present she finds herself in.
Here, it is important to stress that this is not a romance story. The book’s publicity often left it shelved under a romance, not least because of the obvious love triangle. But this film deals with the hard hitting and emotionally challenging topic of domestic abuse.
The character of Ryle is complicated, deep, and dark, and while some readers were willing to overlook some of his violent acts in hope of a happily ever after, the film offers no such respite. Lily seems to forgive Ryle out of naivety in the book, whereas the film portrays her situation as a tough. Tight shots and low angles from Lily’s perspective give Ryle a presence which is intimidating and oppressive.
The film handles these delicate subjects with maturity, giving intense scenes the full focus and attention they deserve from the audience. Ideas of self-love, female friendships, and domestic abuse are carried across to the audience in a way that isn’t overly obvious, distasteful or sensationalist.
The character of Ryle is complicated, deep, and dark, and while some readers were willing to overlook some of his violent acts in hope of a happily ever after, the film offers no such respite.
What perhaps is insensitive is what has happened behind the scenes. Since the release of the film on 9 August 2024, Lively has continuously promoted her haircare line as well as discussing her red carpet looks. Many fans recognised this as being ‘tone-deaf’, and not representative of the strong and important messages of the film. When the book itself has received criticism for its bright and colourful marketing, it is odd that a film adaptation seems to use the same strategies.
The book has sold over 1 million copies in the UK, with popularity providing awareness and validation, and this film has had a similar impact. It has grappled with its themes in a thoughtful way, making it a powerful vessel for talking about and recognising signs of domestic abuse.
