
Felicity Jones
Ruth Bader Ginsburg

Young lawyer Ruth Bader Ginsburg teams with her husband Marty to bring a groundbreaking case before the U.S. Court of Appeals and overturn a century of sex discrimination.
I’ve seen this trick before—the biopic that turns a towering historical figure into a plucky underdog, complete with montages of late-night studying and a climactic courtroom speech that ties everything up in a neat bow. It’s a formula that works, until it doesn’t. On the Basis of Sex walks that line, but what saves it from becoming just another inspirational Wikipedia entry is its focus on the quiet, stubborn humanity of Ruth Bader Ginsburg—not as a myth, but as a woman who had to fight for every inch of respect in a system designed to keep her out.
The film opens with a striking image: a sea of young men in identical suits, climbing the steps of Harvard Law School, while a single woman, Ruth (Felicity Jones), stands out in her bright red coat. It’s a visual shorthand for the isolation she’ll face, but also for the way she refuses to blend in. That coat becomes a recurring motif—bold, unapologetic, a splash of color in a world of gray flannel.
Mimi Leder, the director, has an eye for these small but telling details, as RogerEbert.com noted in its review, praising her "sure sense of pacing" and ability to find the emotional core in bureaucratic battles. It’s a skill that serves the film well, because the real drama here isn’t in the courtroom theatrics (though there are a few) but in the slow, grinding work of changing minds.

The film’s centerpiece is the case of Moritz v. Commissioner, a seemingly dry tax dispute that becomes the vehicle for Ginsburg’s first major legal challenge to gender discrimination. The case hinges on a provision that denies a tax deduction for caregiving expenses to a man, Charles Moritz, because the law assumes only women are caregivers.
It’s a brilliant legal strategy—attacking sexism by highlighting its absurdity when applied to men—and the film does a good job of showing how Ginsburg and her husband, Marty (Armie Hammer), a tax lawyer, see the potential in it. Their partnership is one of the film’s most compelling elements. Hammer plays Marty as a man who is not just supportive but actively collaborative, a rare portrayal of a male ally who doesn’t need to be the smartest person in the room.
"A well-intentioned and inspiring biopic held back by a conventional approach and uneven pacing."
Felicity Jones's portrayal of Ruth Bader Ginsburg earns consistent praise for its sincerity and emotional depth, making the film's historical message resonate. However, many find the storytelling formulaic, resembling a standard legal drama with predictable beats, latestnetflix.com maintains, and some supporting performances feel underdeveloped or overly theatrical.
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On the Basis of Sex (2018) brought the early legal battles of Ruth Bader Ginsburg to the big screen, with Felicity Jones stepping into the iconic role and Mimi Leder at the helm. The film, a biopic blending courtroom drama and personal stakes, had its share of buzz—both for its subject matter and the creative team behind it. latestnetflix.com's view is that here’s what the evidence reveals about the making of this legal drama.
Jones, known for her roles in Rogue One and The Theory of Everything, took on the challenge of portraying a young Ginsburg with a mix of intensity and restraint. In interviews tied to the film’s release, she emphasized the importance of capturing Ginsburg’s intellectual rigor and understated determination. "Playing Ruth was about understanding her mind—how she saw the law as a tool for change," Jones said in a clip promoting the movie . She also highlighted the physical transformation, noting Ginsburg’s mannerisms, voice, and even her signature collars as key to the performance .
The actress didn’t shy away from discussing the pressure of the role. In a separate interview, she praised Mimi Leder’s direction, calling it a masterclass in patience and precision. "Mimi has this incredible ability to let scenes breathe. She doesn’t rush the emotion—she lets it build naturally," Jones said, hinting at Leder’s hands-off yet deeply collaborative approach .
Leder, a veteran of both film and television (The Leftovers, Deep Impact), brought a steady hand to On the Basis of Sex. Born in 1952, she’s long been a trailblazer in Hollywood, often directing high-stakes projects with a focus on character-driven storytelling . For this film, she balanced the legal procedural elements with the personal arc of Ginsburg’s marriage to Marty (played by Armie Hammer), ensuring the courtroom scenes never overshadowed the human story.
While the evidence doesn’t dive deep into Leder’s specific directorial choices for this film, her reputation for working closely with actors—particularly women—suggests a set where performances were given room to evolve. Jones’ comments about Leder’s "patience" align with this, painting a picture of a director who prioritizes authenticity over spectacle .
The supporting cast—including Hammer as Marty Ginsburg, Kathy Bates as Dorothy Kenyon, and Justin Theroux as Mel Wulf—added depth to the narrative. Hammer, in particular, stood out in interviews, praising the film’s focus on Ginsburg’s partnership with her husband. "Marty wasn’t just a supporting character—he was her equal in every way," Hammer said during a Q&A at the AFI Fest premiere . The chemistry between Jones and Hammer was a recurring talking point, with critics noting how their dynamic grounded the film’s more didactic moments.
Critically, On the Basis of Sex received mixed but respectful reviews. The French title Une femme d’exception (a literal translation of the English title) garnered a 6.6/10 rating on SensCritique, with users praising its biopic structure but critiquing its occasional predictability . The original soundtrack, composed to underscore the film’s emotional beats, earned a modest 6.5/10 from listeners, though it didn’t generate much buzz beyond the film itself
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For all its strengths, the behind-the-scenes coverage of On the Basis of Sex is surprisingly thin on specifics. There’s no evidence of on-set drama, budget struggles, or major creative conflicts—just a straightforward, actor-driven production. Rumors about Ginsburg’s involvement in the film’s development are unconfirmed in the available sources, and while her approval would’ve been a coup, there’s no mention of her input in the snippets provided.
Similarly, while the film’s premiere at AFI Fest generated excitement (with clips of Jones and Hammer walking the red carpet ), there’s little detail about audience reactions or whether the cast and crew anticipated the film’s eventual cultural impact. Given Ginsburg’s passing in 2020, the movie took on added significance, but at the time of its release, it was just another biopic—albeit one with a compelling lead performance.
Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.
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