Jennifer Fox’s ‘Ruth’s Ghosts’: A Supernatural Thriller Tackling Abortion Rights in 2030!

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Jennifer Fox, the director behind the Sundance 2018 success “The Tale,” which was hailed as a significant leap forward in cinematic memoirs by EbMaster, is heading to Series Mania in Lille with her new project titled “Ruth’s Ghosts.

Title introduces Fox’s inaugural venture into narrative fiction, offering a gritty, realistic portrayal of a potential future for American families and law systems, set against the backdrop of a U.S. governed as a dictatorship.

The team of Fox and “Ruth Ghosts”, consisting of Tara Grace and Jana Lotze, will present their six-episode series project at the primary event of the Series Mania Forum’s Co-Pro Pitching Sessions. This presentation is likely to spark interesting discussions.

Ruth’s Ghosts” has been recognized by Series Mania as a daring and vital addition, and it will be showcased alongside 15 other projects at the Pitching Sessions. This project is one of sixteen titles presented outside of competition, in collaboration with the Berlinale Co-Production Market.

The selection for Europe’s largest TV festival was earned following the success of “Ruth’s Ghosts” at the Co-Pro Series event during the Berlinale Series Market, another significant pitching platform in Europe. This event happened on February 18th.

Ever since my groundbreaking documentary, “Beirut: The Last Home Movie,” which earned a Grand Jury Prize for Best Documentary at the Sundance Film Festival in 1988, I’ve been passionately exploring the realm of storytelling that tackles societal issues. My latest creation, “Ruth’s Ghosts,” is another step in this journey, furthering my commitment to fiction that resonates with and sheds light on the pressing matters of our world.

2030 finds us in New Orleans, where the story unfolds around Ruth, a deeply religious and pro-life attorney, who takes legal action against her daughter, Naomi – a liberal jazz artist, to gain custody of their teenage daughter, Liv, due to her being at risk of an unwanted pregnancy.

In this story, Naomi and Liv are engaged in a struggle over Liv’s decision to have an abortion. Meanwhile, Ruth, who has long-standing beliefs against abortion, finds herself grappling with memories of Madame Restell, a notorious 19th century abortion provider. Eventually, as her unwavering convictions falter, Ruth takes a stand in court to defend Liv’s right to choose an abortion, despite the illegality of the procedure in their country.

Ruth’s Ghosts” is an intense supernatural thriller that delves into a contemporary global problem through the personal perspective of a family torn apart by contrasting political and religious viewpoints, while also incorporating a ghost story that spans across time. This was shared by Fox with EbMaster.

She remarked that the show is exceptionally distinctive, full of suspense, and has depth across various layers, with a strong connection to everyone.”

Or more informally:

“She said it’s a really one-of-a-kind, edge-of-your-seat series that speaks to people everywhere.

In a period when personal liberties are becoming more vulnerable, it’s crucial that we voice our opposition. The right to abortion, which women have fought long and hard for, is now precarious – particularly in the United States. This initiative serves as a rallying cry, and Europe currently has an opportunity to offer its solidarity, as stated by Laurence Herszberg, general director of Series Mania, during her announcement of the Series Mania selection.

The film titled ‘Ruth’s Ghosts’ is being developed by Fox, who will be responsible for its creation, scripting, and direction. The production will be handled by A Luminous Mind, Grace from Los Angeles’ Temair Pictures, Lotze from Berlin’s Oma Inge Film, alongside Oren Moverman (‘Love & Mercy’, ‘Bad Education’), Simone Pero, and Beverly Rogers. This project is also supported by partners Zas Films and Andromeda Film.

In the context of current real-life issues of housing discrimination in the United States, “Ruth’s Ghosts” implies a significant transformation not just in basic freedoms within the U.S., but also the economic relationship between the U.S. and Europe.

Grace, a previous SVP at HBO Films and Drama, stated that political content is no longer being produced by networks or streamers in the U.S., as was common during her tenure there.

Grace mentioned that we’ve long considered making ‘Ruth’s Ghosts’ as a joint production with other countries, given Jennifer’s history of working internationally. Now, this concept seems highly feasible,” Grace explained.

Lotze noted an interesting shift: traditionally, Europeans have been drawn towards the U.S, seeking greater opportunities. However, now it’s a chance for us to reciprocate. This is the time when we can extend aid, demonstrate solidarity, and contribute significantly from our European standpoint,” Lotze stated.

Grace commented, “We felt deeply touched when Series Mania, a French television conference, selected our American tale. Since we aim to produce this series as a collaborative effort among Europeans, it carries great significance and is incredibly validating.

According to Lotze’s observation, people grasp both the importance and connection of the topic swiftly, and they’re thrilled that Jennifer Fox is the one producing the series. We are actively negotiating with one territory and have attracted interest from others; we are optimistic that we will secure the necessary backing and dedication to bring this series to life.

EbMaster chatted to Fox after “Ruth’s Ghosts’” selection for Series Mania. 

As a dedicated cinephile, I’ve been pondering how “Ruth’s Ghosts” stands as a testament to my creative growth, particularly in comparison to ‘The Tale’ and my earlier work. Here’s one way I might articulate this:

“Indeed, ‘Ruth’s Ghosts’ seems to represent an exciting evolutionary leap for me as a storyteller, building upon the foundations laid by ‘The Tale’. It’s like stepping from the first rung of a ladder onto a broader platform, where I can explore new themes, techniques, and perspectives. The characters in ‘Ruth’s Ghosts’ feel more nuanced, their stories intertwining in intricate ways that were perhaps not fully realized in my earlier work. I find myself diving deeper into the human psyche, uncovering layers of complexity that enrich both the narrative and the viewer’s experience.

This question is remarkably innovative! It presents a unique fictional landscape that hasn’t been explored before, unlike memoirs such as “The Tale.” However, it shares with “The Tale” the fact that it is deeply rooted in reality and extensive research. The concept of the ghost for me emerged during the creation of “The Tale,” where Jennifer, portrayed by Laura Dern, communicates with her younger self as if they were physically present together. I’m extending this creative approach to convey the thought that past, present, and future exist as a single, continuous reality. In my story, the ghost of Madame Restell appears to Ruth as if they are both part of the same time continuum and is entirely real; she isn’t an ethereal spirit at all.

Beyond seeing the mental terrain as a single, unbroken expanse, this blending of past and present appears to be an examination or mirror image of historical events.

OR

Beyond viewing our mental landscape as one seamless whole, this fusion of past and present seems to represent a contemplation or reflection on history.

Indeed, we’re still grappling with issues that date back 30, 50, even 100 years. It’s disheartening because one would expect growth and learning from past experiences. I’m sharing “Ruth’s Ghosts” to underscore the recurring nature of history.

As a cinema connoisseur, I can envision a character’s life, let’s call her Dr. Roe, living in the United States just a decade from now, navigating the complexities of the reproductive rights landscape as an abortion provider.

Indeed, it’s chilling to contemplate. As a film enthusiast who closely follows real-life dramas, I must admit that the current anti-abortion movement’s progression today echoes the harsh crackdown on Madame Restell in the late 1800s. In this modern era, states like Texas and Louisiana are engaging in legal battles against a New York doctor for mailing abortion pills to a woman residing in Louisiana – a state that rigidly upholds its constitution’s absolute ban on abortion, with no exceptions even for cases of rape or incest. The parallels are striking, and they serve as a stark reminder of the ongoing struggle for reproductive rights.

Contrastingly, “Ruth’s Ghosts” stands in stark contrast to “The Tale,” as it challenges the notion of advancement that was suggested by the latter. In “The Tale,” women began to recognize what they had thought was standard treatment was actually abusive. Now, norms once considered normal are being scrutinized, along with the concept of history as a series of continuous progress, albeit slow.

The revelation and what I find astonishingly surprising served as my inspiration for this series is uncovering the fact that abortions were legally permitted in many parts of America and the world well into the late 1800s. Women enjoyed more control over their reproductive choices during that era because they had the power to determine pregnancy, which was signaled by the baby’s movement within the womb, a phenomenon known as “quickening,” typically occurring around the fourth month. Before this quickening, abortions were considered lawful.

Is the sense of trauma in “Ruth’s Ghosts” apparent alongside its timeliness, or is it merely perceived that way?

It seems to me that very few women can avoid experiencing trauma in their lives. This appears to be an unfortunate aspect of our existence. For instance, Ruth endured trauma during her upbringing, and it’s highly unlikely that a 13-year-old like Liv could become pregnant without going through a traumatic experience. It’s rare to find a woman on this planet who hasn’t had some form of trauma in their past. This is an issue I feel strongly about and would like to shed light on, hoping for positive change.

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2025-02-25 11:53