When Winning Stops Being the Finish Line

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MOVIE REVIEWS
Threshold
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Genre: Documentary
Year Released: 2026 (Peacock)
Runtime: 1h 25m
Director(s): Lars Brinkema, Torsten Brinkema
Where to Watch: now available streaming on Peacock

RAVING REVIEW: THRESHOLD doesn’t begin with triumph; it begins with showing what proximity is. The film follows Jessie Diggins throughout a single World Cup season. It embeds its focus there, not as a highlight reel or a retrospective, but as a record of the daily pressure, physical demand, and psychological strain. From its opening stretch, the documentary makes clear it isn’t interested in building a myth or reframing success. It wants to see what happens when the mechanisms that once drove greatness begin to cause harm.

When the film starts, Diggins is already one of the most decorated American cross-country skiers in history. That framework is never denied, but it’s also never romanticized. The Brinkema brothers (Directors Lars Brinkema and Torsten Brinkema) resist the familiar arc of sports documentaries that build toward a climactic win or comeback. Instead, they structure THRESHOLD around endurance, not just on snow, but in private. The camera observes training sessions, travel, medical appointments, conversations with coaches and family, and the silent moments in between when the body and mind no longer cooperate on command.

The film’s central emphasis is Diggins’ struggle with an eating disorder, and THRESHOLD handles that subject with restraint. It doesn’t sensationalize symptoms or dramatize recovery. The disorder is presented as something functional before it becomes destructive, a method of control that initially aligns with elite performance culture. Rather than isolating the disorder as a personal failing, the film situates it within a system that rewards relentless self-discipline and normalization of pain.

What distinguishes THRESHOLD from many athlete-focused documentaries is its refusal to treat disclosure as catharsis. Diggins’ openness doesn’t resolve the problem. Speaking publicly doesn’t instantly restore balance. Recovery is shown as ongoing, uneven, and often frustrating. Progress exists, but it doesn’t come all at once. The film allows uncertainty to persist, even as Diggins continues to compete at the highest level.

The Brinkema brothers’ filmmaking style emphasizes intimacy without intrusion. Much of THRESHOLD develops in close quarters, hotel rooms, team buses, and training facilities. The camera doesn’t rush to underline emotion. It waits. That patience allows conversations to unfold naturally, including moments where Diggins hesitates, corrects herself, or chooses silence. Those pauses are among the film’s most revealing elements. They communicate how difficult it is to untangle identity from performance when success has been measured so narrowly.

THRESHOLD avoids framing Diggins as either a cautionary tale or an inspirational symbol. She isn’t presented as broken, nor is she elevated into an icon of resilience. The film’s strength lies in its allowance of contradiction. Diggins can be disciplined and vulnerable, successful and struggling, outspoken and uncertain, sometimes within the same scene. That complexity feels earned because the film never rushes to resolve it.

Other athletes exist in the film, but mostly at the periphery. This isn’t a film about beating opponents. It’s about navigating expectations, internal and external, while learning how to remain in a sport that defines one’s life. At 85 minutes, THRESHOLD is tightly constructed but never rushed. There are moments where the observational approach may feel restrained to viewers expecting deeper commentary or analysis. The film doesn’t attempt to provide comprehensive education on eating disorders or mental health systems. Instead, it centers a lived experience.

The presence of Diggins’ family and support network adds dimension without losing focus on the fact that this story is hers. Their roles are often supportive but not overemphasized. Responsibility for recovery remains where it belongs, with Diggins herself, while still acknowledging that recovery doesn’t happen in isolation.

THRESHOLD serves as a corrective lens on how elite athletes are often seen. It pushes back against the idea that endurance means ignoring harm, that success justifies self-erasure. Diggins’ decision to allow this level of access doesn’t feel performative. It feels purposeful, especially in how the film addresses the stigma and the silence surrounding eating disorders in sports.

There’s no definitive finish line. Diggins continues competing. She continues advocating. She continues managing her health. That lack of resolution is one of THRESHOLD’s strongest choices. It reflects reality rather than offering comfort.

The film is thoughtful, disciplined, and emotionally grounded. One of the most important visions the documentary accomplishes is refining its focus by narrowing it and refusing the expected boost. THRESHOLD doesn’t ask viewers to admire Diggins. It asks them to see her, her way, and it earns that by not shying away from the discomfort of the struggles.

As a side note, I can’t help but admire the impact of this story and why someone like Alysa Liu’s success at these current Olympics was so vital for the future of competitive sports like this. Liu’s demand to do this on her terms and succeed at the highest level is such a beautiful parallel to Diggins story.

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[photo courtesy of PEACOCK, BRINKEMA BROTHERS]

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