Botox is quietly killing the art of acting

The brief for a project I was directing seemed straightforward enough: We needed an actor in her 30s or 40s who could convincingly play younger and older versions of herself throughout her life. Over a few weeks, we auditioned hundreds of talented women from all across North America.

But as the performances rolled in, I found myself struggling with something unexpected. The smallest emotional shifts, the fleeting flickers of joy, fear, uncertainty, grief and longing, the micro-expressions that make a performance feel human, seemed muted and numb. Faces that should have felt distinct and should have carried the unique imprint of a life lived were frozen into a narrow range of expressions. They began to blur together.

Again and again, I found myself searching for authentic emotional complexity and struggling to find it. Many of the actors had so many Botox injections and other cosmetic interventions that I could no longer fully read their faces. My reaction to this surprised me. As I worked my way through tape after tape, I found myself becoming increasingly unsettled. Then frustrated. Then, if I’m honest, angry.

And there was some hypocrisy here. The process was taking place just weeks before my 40th birthday. Every time I looked in the mirror, my forehead wrinkles were screaming back at me, insisting it was time for a Botox top-up.

That left me confronting an uncomfortable truth: I was passionately advocating for authenticity in other women’s faces while struggling to accept it in my own.

Acting is, at its core, the art of feeling. Cinema asks us to study the human face more closely than perhaps any other medium. A close-up is an act of intimacy. We lean in and search for thoughts, emotion and meaning in the movement of a mouth, the tightening of an eyelid, the tremble beneath composure.

Hollywood has made significant progress for women in recent years. We’ve spoken out about abuse, discrimination and unequal treatment. Entire movements from #MeToo and Time’s Up to battles over representation, ageism and AI, the industry has increasingly recognized that women’s voices, autonomy and experiences matter. But at the same time, many of the faces we put onscreen are becoming less capable of expressing them.

In 2024, women for the first time reached parity with men in lead roles among Hollywood’s highest-grossing films. The result is a strange contradiction. We celebrate women for their strength, resilience and achievements while simultaneously asking them to erase the evidence of the years and experience that produced them.

On the other hand, a man with gray hair, take George Clooney for example, is distinguished. A woman with gray hair is often told she’s “let herself go.” A male actor’s lined face is often read as evidence of gravitas and experience, just look at Brad Pitt’s deepening wrinkles. A woman’s lines are treated as problems to be corrected.

The face of a 60-year-old woman cannot and should not look identical to the face of a 30-year-old woman. It should contain traces of laughter and heartbreak, motherhood, ambition, exhaustion, delight, survival and loss.

I look around and realize that naturally aging women have become the exception in Hollywood rather than the rule. There is, of course, Meryl Streep, Sarah Jessica Parker and Kate Winslet (though the list is not limited to them). The fact that they stand out among so many others who are applauded for looking the same across the decades is itself revealing.

What worries me most is not just what this means for today’s performers, but what it means for the young girls watching. Film and TV have for generations helped shape our understanding of who we can become. They offer us templates for adulthood and show us our futures.

The industry has spent years debating how artificial intelligence might replace actors. Yet what if the greatest irony of the AI age is that we end up using technology to simulate the emotional complexity real women no longer display? That would be a profound loss.

Young women are growing up in a culture where nearly every visible sign of aging has been erased from the women they see onscreen and on every billboard dotting Sunset Boulevard. The lesson is clear: A woman’s value is tied to her youth. We are teaching another generation to fear the natural progression of life.

In mythology, a woman’s life is often divided into three archetypes: The Maiden, who embodies possibility. The Mother, creation and care. The Crone, wisdom and experience. What concerns me is that we seem increasingly comfortable with the first two, but deeply uncomfortable with the third, even as the Crone is where many of our richest stories live.

The answer is not to shame women for the choices they make under immense pressure. This is not an argument against cosmetic procedures. I strongly believe women should be free to make whatever choices they wish about their faces and bodies. Nor is this about blaming the actors. If anything, they’re responding rationally to an industry that’s spent decades punishing women for aging. The answer is to release the pressure itself.

Studios, directors, casting directors, producers and audiences all have a role to play. We can choose to celebrate the faces of women that reflect lived experience. We can stop treating aging as a failure and start treating it as evidence of a life fully inhabited. And we can admire — and we can hire — women who look their age.

Because aging is not the opposite of beauty. It is one of its deepest expressions.

For my project, I eventually found the woman I’d been looking for: an actress who’d aged beautifully and naturally. As I watched her face on camera, I marveled at how the lines around her eyes and mouth did not diminish her presence; they deepened it. Something in me shifted. I realized how rarely we are encouraged to see aging as beautiful. Not in spite of the years, but because of them.

There was a grace in her face that I found deeply moving. A sense of wisdom, of self-possession. She seemed at ease with time rather than at war with it. Looking at her, I felt an unexpected reverence.

And then I realized that what I admired wasn’t simply how she looked. It was how she made me feel about growing older. For the first time in a long time, I found myself wanting not youth, but grace.

I canceled my Botox appointment.

In the second half of my life as a woman and as a director, I find myself hoping for a different vision. One that honors not just youth, but experience. Not agelessness, but time.

I want to live in a culture where women’s bodies are allowed to change with time, to show their years and experiences and tell their truths. And where the stories written on their faces are seen not as something to erase, but as something worth reading.

Nicole Ackermann is a South African artist and filmmaker known for directing emotionally vibrant commercials with global brands including Universal Studios, Lexus and Pepsi.