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Based on the graphic novel of the same name by Phoebe Gloeckner, and directed by Marielle Heller, Diary is in cinemas from this August. It is set in San Francisco in the 1970’s and centres on the life of 15 year-old Minnie who, in common with many teenagers, is intent on discovering her sexuality. The plot hinges on her relationship with her mother’s boyfriend who is 20 years her senior, who invites her to his apartment and has sex with her.

The furore has been that a movie about a teen is (in theory) prohibited to the majority of teenagers because the BBFC considers its content too sexually graphic to warrant a 15 classification. 

I believe the BBFC are right, not because of any prudishness but because we must never allow art to mask abuse. The cold facts are that the story depicts a 35 year-old man exploiting a child, taking advantage of her desire to lose her virginity in order to satisfy his sexual needs. The director wants everyone to believe that Minnie ‘isn’t feeling abused and she isn’t feeling like she’s being taken advantage of, and so we need to feel that way too.’ Except I don’t feel that way. Having worked with many survivors of sexual abuse over many years, I am well aware that many victims sincerely believed they were in a relationship with their abusers when the abuse was taking place, and that they weren’t being harmed. Often it has only been years later that they have gained this important insight.

This is not about the age of consent in the UK (which is 16) or our child protection legislation, which defines a child as anyone under 18. It is instead about how a much older person can manipulate, groom, sexually harm and exploit a child. As we have seen in Rotherham and elsewhere, many thousands of young girls have been abused by much older men, believing that they were in a ‘relationship’, only to discover this wasn’t the case as they were passed on to other men for further abuse.

The film has received some critical acclaim for its production and its honesty, and for the acting skills of its lead performer, Bel Powley. Critics suggest that the shallow nature of the adult characters imply no abuse of power, as it is Minnie who exercises control over them during her sexual awakening. Even if that were so, it ignores the failure of those adults around to provide a loving, nurturing environment that would allow Minnie to develop her physical yearnings in pace with her emotional development.

I’m sure this film will spark much debate in youth groups, and my hope is that it will spark a discourse that recognises the need to keep children safe, even if that sometimes includes keeping them safe from themselves.

That discourse might well include the eight chapters of Solomon’s Song of Songs about the immense sexual power of love, which should be embraced within a Christ-centred, monogamous marriage. Alongside that stands Jesus’ very clear warning:

“But if anyone causes one of these little ones who believe in me to sin it would be better for him to have a large millstone hung round his neck and to be drowned in the depths of the sea.” (Matthew 18:6, NIV)

Simon Bass, CCPAS

CCPAS is an independent Christian charity providing professional child protection advice and support across church denominations and organisations throughout the UK. Follow them on Twitter @theCCPAS