Almost directly facing the camera, a woman in her late thirties in close-up. Her anxious gaze flits between her interviewer, Michael Frantzis, and the floor, out of the camera&apos;s field of view. Her hands nervously part away the hai...

Michael Frantzis

Ruth

Almost directly facing the camera, a woman in her late thirties in close-up. Her anxious gaze flits between her interviewer, Michael Frantzis, and the floor, out of the camera's field of view. Her hands nervously part away the hair from her forehead; her trembling body forming and uncanny and tense contrast with the self-assured tone of her voice. Ruth has endured Parkinson's disease for more than twelve years. Implanted electrodes enable her to periodically switch her degenerative illness on and off, like an automat. In this way, her body can function in a stable manner during certain lapses of time. In RUTH, the film's protagonist answers the filmmaker's questions with surprising directness. Admiringly open and self-reflexive, she discusses her isolating illness that progressively transforms her body into a prison. Since the very first scene, the frank and brisk tone of the film establishes a palpable tension between the participants, and communicates both verbally and visually an inherent need for articulation that is common to all human beings. The moment when Ruth switches off her implant in front of the camera and under the anguished gaze of the spectator who awaits the consequences of this action, leads us - emotionally speaking - to the turning point of this exceptional portrayal, which becomes a veritable thriller as it reveals the tragic side of this illness without ever lacking in respects towards its victim.

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Ruth

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