Jennifer Fox

Jennifer Fox (born 1959) is an American film producer, director, cinematographer, and writer as well as president of A Luminous Mind Film Productions.

She won the Grand Jury Prize at Sundance for her first feature documentary, Beirut: The Last Home Movie.

Jennifer Fox was born into a Jewish family in 1959 in Narberth, Pennsylvania.

Her father, Richard J. Fox, was a U.S. Navy pilot who served in the Korean War and co-founded Fox Companies, a property construction firm in Pennsylvania and New Jersey.

In 1980 she graduated from Johns Hopkins University with a degree in Creative Writing, and in 1981 dropped out of New York University to film Beirut: The Last Home Movie.

In 1981, Fox left NYU to accompany her friend and classmate, Gaby Bustros, to her ancestral home in Beirut, a 200-year-old Ottoman palace that had been bombed during the Lebanese Civil War.

Here, she filmed the documentary Beirut: The Last Home Movie (1987).

A cinéma vérité-style documentary, Fox follows the Bustros family as they continue to live in their ruined mansion and survive the civil war.

Her mother, Geraldine Dietz Fox, after losing hearing in her left ear at the age of 27, helped to establish the National Institute on Deafness and other Communication Disorders (NIDCD) and founded the National Organization for Hearing Research Foundation (NOHR) in 1988.

One of five children, Fox attended primary school at the Quaker Germantown Friends School in Philadelphia.

Fox knew she wanted to be a filmmaker from a young age after seeing the film Funny Girl, for an aunt's birthday.

While the film was a critical success, winning for best Cinematography and the Grand Jury Prize for Best Documentary at the Sundance Film Festival in 1988, Fox suffered post traumatic stress disorder upon finishing the film.

After the struggle of filming and promoting Beirut: The Last Home Movie, Fox began travelling with Buddhist master Namkhai Norbu, in 1989, as his secretary.

As she was introduced to his 18-year-old son, Yeshi, Fox began recording their lives.

After leaving to work on other projects, Fox reconnected with Namkhai and returned 13 years later to film Yeshi and his father as they struggle to connect and balance modern life and traditional beliefs.

The film was partially funded by a Kickstarter campaign for $150,456 after one of Fox's original backers fell through.

Due to the gap in filming, the documentary fluctuates between an interview based style and cinéma vérité.

Fox's next project, An American Love Story (1999), was inspired by her own experiences of racism towards interracial relationships.

While dating a black man in the early '90s, her shock towards the racism from strangers and family inspired her to create the cinéma vérité documentary about Bill Sims' and Karen Wilson's interracial relationship.

The 10-part series first aired on September 12, 1999 on PBS and ran for five consecutive nights.

Filming lasted over a year and a half, as Fox and one other crew member moved into the couple's Queen's apartment to chronicle their daily lives.

Generating over 1,000 hours of film, the documentary covers everything from Bill's fluctuating career as a musician and Karen's declining health to the serious disapproval and ostracization the couple faced as they attempt to raise their family.

The film won a Gracie Award for best Television Series in 2000, and was named "One of the Top Ten Television Series of 1999" by The New York Times.

Fox spent the next five years filming her third documentary Flying: Confessions of a Free Woman (2006), another made for TV documentary series, consisting of six hour-long segments.

Combining personal memoir with cinéma vérité-style filming, "pass the camera" shooting, interviews and narration, Fox attempts to understand her own identity as a woman in relation to women around the world.

Loosely organized around her own affair with an unnamed married South African lover and her familial upbringing, Fox supplements her own experience with clips from over 1,600 hours' worth of interviews and footage of women around the world and their experience of being a woman.

Revolving around what Fox defines as "this modern female life," Flying: Confessions of a Free Woman, represents a sort of feminist manifesto for Fox.

The film itself has been met by some criticism regarding its comparative qualities, with Zoe Williams questioning whether it is all that productive to compare experiences of oppression and Fox's centralized role.

The film was first released in the U.S. on June 21, 2006 on PBS's POV series.

Her 2010 documentary My Reincarnation had its premiere at the International Documentary Film Festival in Amsterdam (IDFA) in 2010, where it won a Top 20 Audience Award.

Fox's fourth documentary film My Reincarnation (2011) was filmed over the course of 20 years.

In 2018, Fox directed the film The Tale (2018), inspired by her own experience as a survivor of child sexual abuse.

Unlike her previous works, the film is not a documentary but a narrative film, with the script inspired by transcripts of real conversations.

The film features Academy Award-winning actress Laura Dern, and premiered at the Sundance film festival on January 20, 2018 and on HBO on May 26, 2018.

The plot of the film directly references Fox's own experience of recognizing and grappling with her own abuse history.

Inspired by the filming of Flying: Confessions of a Free Woman, Fox started to recollect her dating life as a young girl, connecting it to the stories of rape and abuse suffered by the women she was interviewing.

However it wasn't until her mother found a story, titled The Tale, written by Fox in middle school depicting the relationship between her and her adult running coach, that Fox realized the relationship constituted sexual abuse.

At just 13, she had seen the relationship as consensual, a mindset that wouldn't shift until re-reading the story as an adult.

"'What I was hearing [stories of sexual abuse] sounded so much like my own little private story that I called a relationship, there was this seismic crack in my body. Suddenly I realized what I protected in my mind as special and unique was not unique at all. It was the paradigm of sexual abuse.'"While writing the script, Fox developed the idea of "issue-based fiction," in which she is able to use storytelling to "dive into issues that people could learn from and experience."

Borrowing from her documentary filmmaking, Fox collaborated extensively on the production of the film, outreaching to mental health advocates, lawyers, sexual abuse survivors, and women's lived experiences to transform narrative into a tool for change.