A famous lifestyle blogger, happily pregnant, awaits the arrival of her first child. But soon after she and her husband welcome baby Ruby home, something starts to feel off. A film by Bess Wohl, starring Noémie Merlant, Kit Harington, and Meredith Hagner.

Jo (Noémie Merlant), a French blogger adored by thousands, runs the successful website “LOVE, JOSÉPHINE.” This stylish entrepreneur shares her French lifestyle in the US after relocating from France to be with her charming husband Spencer (Kit Harington).

Even with her first child on the way, Jo continues to write captivating articles for her beloved websites. Even her recent baby shower at home, where she warmly welcomed friends and dedicated employees, became blog-worthy content. For Jo, everything is an opportunity to both celebrate and share, with the hope of seamlessly resuming her full workload after the baby arrives.

But motherhood throws Jo’s carefully laid plans into disarray. Ruby, her newborn daughter, cries with unwavering intensity, demanding every ounce of Jo’s attention. Sleep disappears, replaced by a blur of endless nights and days. Struggling to find her footing in this new reality, Jo feels her grip on her life loosen. Until a knock at the door jolts her back to reality. Standing there is one of her employees, patiently waiting for the photos promised a month ago.

Though the doctor assures her infant’s cries are perfectly normal, Jo can’t shake the feeling that something’s wrong with Ruby. She feels like her daughter reserves her most intense cries for her, and the disparity with the seemingly calm babies of her neighbors only amplifies her worry. Jo struggles to understand why her daughter is different.

BABY RUBY, a psychological horror-thriller written and directed by American filmmaker Bess Wohl in her directorial debut, boasts captivating cinematography and intriguing video editing choices. Notably, the film seamlessly blends hallucination and reality, leaving the protagonist, Jo, increasingly frustrated and questioning the authenticity of her experiences. While this stylistic approach is undeniably effective in amplifying Jo’s anxieties, it can also be a double-edged sword, leaving viewers similarly questioning the boundaries between real and imagined scenes.

While several scenes leave a lasting impression, their purpose remains ambiguous. Are they glimpses into the protagonist’s psyche, mere nightmares, or perhaps something else entirely? Everything feels like a manifestation within the woman’s mind, rather than a tangible reality or a concrete villain. One particularly unsettling scene depicts a neighbor seemingly attempting to steal the protagonist’s baby. However, the film leaves us questioning the reality of this event. The absence of any follow-up, such as police involvement or further interaction with the neighbor, casts doubt on whether the incident truly transpired.

While “RUBY” offers intriguing aspects, it succumbs to two major drawbacks. First, the film presents a repetitive series of similar events, diminishing their impact and potentially straining viewer patience. Second, the pervasive use of baby crying becomes grating, potentially exceeding some viewers’ tolerance for such a prolonged and unsettling sound. While some viewers may interpret this as an intentional reflection of the protagonist’s mental state, the relentlessness of the sound may ultimately push beyond artistic purpose and into the realm of discomfort.

BABY RUBY premiered at the Toronto International Film Festival on 9 September 2022. The film was theatrically released in the United States on 3 February 2023.