Directed by

Boaz Yakin
Made by

Miramax
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Read the complete plot summary and ending explained for A Price Above Rubies (1998). From turning points to emotional moments, uncover what really happened and why it matters.
Sonia Horowitz, Renée Zellweger, is a young Brooklyn woman who has just given birth to her first child. She is married, through an arranged marriage, to Mendel Horowitz, Glenn Fitzgerald, a devout Hasidic Jew who is too repressed and immersed in his studies to give his wife the attention she craves. He even condemns her for making sounds during sex and considers nudity with sex indecent.
Sonia is distressed and later, after a panic attack, she tries to kiss her sister-in-law Rachel, Julianna Margulies. Rachel persuades her to talk to the Rebbe, but Sonia cannot truly articulate what is upsetting her, instead resorting to a metaphor of a fire burning her up.
Sonia develops a relationship with Sender Horowitz, who brings her into his jewellery business. Her husband forgets her birthday and Sonia says she longs for something beautiful in her life — even if it is a terrible beauty. Sender is the only release for Sonia’s sexuality, but she is repelled by his utter lack of morals. He is abrupt and self-centred in his seductions, never waiting for Sonia to achieve orgasm.
Sonia sometimes sees and hears her brother. He appears as a child and judges her actions. On one occasion she buys a non-kosher egg roll in Chinatown, and her brother tells her off; an elderly street beggar-woman, Kathleen Chalfant, sees him and offers him candy. She comments on another woman’s earrings and this leads Sonia to track down the maker of a ring she had discovered earlier that day.
The maker is Ramon Garcia, Allen Payne, a Puerto Rican artist and jewellery designer who works as a salesperson in the jewellery quarter but keeps his artistry a secret from everyone in the business.
Later Sonia’s husband tells her she cannot continue to work. She is furious. Her husband insists they see a marriage counsellor (their rabbi) but the man decides Sonia is not being a good enough Jew. She says she is tired of being afraid and if she is so offensive to God then > let him do what he wants to me. The counsellor says we bring suffering upon ourselves but Sonia protests that her relatives who were murdered in the Holocaust and her brother who died when he was ten did not deserve their suffering. The counsellor says that > we do not question the ways of God. Sonia corrects this to ‘you’ and asserts that she will question whatever she wants to.
Sonia stops wearing her wig and starts wearing a headscarf instead. She introduces Ramon and some samples to a jewellery buyer who expresses an interest in his potential as a designer. They argue at Ramon’s flat as she becomes bossy over his career, and he tries to get her to model (clothed) with a naked male model so he can complete a sculpture. She runs away.
Sonia’s marriage breaks down irrevocably. Sonia is locked out of her apartment, and finds that her son has been given to Rachel. She is told she may live in a tiny apartment owned by Sender and kept for ‘business purposes’. When she arrives, Sender is eating at a table and it is clear he has set her up as his mistress when she asks what the price is to stay: he says above that of emeralds but below the price of rubies. This is ‘freedom’. Sonia hands him back the keys and leaves.
None of her friends will take her phone calls and Sonia is homeless. She meets the beggar-woman on the street and is taken to an empty studio and given food. The woman refers to an old legend (one her brother spoke of at the start of the film), to encourage Sonia. Meantime, Mendel takes back his son — for nights only. Rachel protests but he says he would appreciate her caring for his son during the day when he is studying.
Sonia now goes to Ramon Garcia’s place and he lets her stay. She says he was right to be wary of her when they met as she has destroyed every good thing she had. But Ramon disagrees, removes her jewellery, and points out that her necklace is a chain. (It is unclear if the necklace is of religious significance or if he means the need to have financial security through jewellery is a chain or restriction). The two end up kissing.
Sonia dreams her brother returns from the lake to say he swam, and she — as her childhood self — says she swam too. When she wakes up in Ramon’s bed there is a prominent crucifix on the wall. Sonia goes to speak to the widow of the Rebbe. The widow tells her that Sonia’s words about being consumed by fire had awoken a fire in the Rebbe and for the first time in 20 years he had said > I love you. It is implied that they had sex and the Rebbe had a heart attack. The widow is not unhappy with this outcome. She assists Sonia in reclaiming property from Sender’s safe.
With Ramon’s ring back in her keeping she returns it to Ramon. She doesn’t want to stay as she does not feel she belongs. Ramon offers her time to think about what she wants.
Mendel arrives. Sonia asks after her son and then if Mendel misses her. He shakes his head. He asks the same of her and she shakes her head. He apologises for forgetting her birthday but he knows that this was not all it was about. He gives her a ruby as token of his regret and invites her to visit their son.
Mendel leaves and Sonia says, ‘God bless you’.
Follow the complete movie timeline of A Price Above Rubies (1998) with every major event in chronological order. Great for understanding complex plots and story progression.
Sonia's post-birth life and arranged marriage
Sonia, a young woman in Brooklyn, has just given birth to her first child. She is married in an arranged union to Mendel, a devout Hasidic Jew who is repressed and absorbed in his studies. His strictness and condemnation of her sexuality create emotional distance from the start.
Panic and the kiss attempt
Sonia becomes distressed and experiences a panic attack. In a moment of desperation she attempts to kiss her sister-in-law, Rachel. Rachel urges her to talk to the Rebbe, but Sonia cannot articulate what troubles her, only describing it as a fire burning inside.
Dialogue with the Rebbe
Sonia meets with the Rebbe to speak about her distress but struggles to express it clearly. She uses the metaphor of fire to describe the burning force inside her. The exchange marks a turning point in her search for guidance.
Sonia enters Sender's world
Sonia begins a relationship with Sender, who pulls her into his jewellery business. He offers a release for Sonia's sexuality but lacks morals, seducing her in a blunt, self-centered way. This relationship marks the start of a new, dangerous form of freedom.
Brother’s presence and Chinatown episode
Sonia's brother appears as a child to judge her actions. In Chinatown she buys a non-kosher egg roll, and an elderly beggar-woman witnesses the brother and offers candy. Later, Sonia tracks down the maker of a ring she had discovered after commenting on another woman's earrings.
Ramon the ring maker
Ramon, a Puerto Rican artist and jewellery designer, is the ring maker Sonia seeks in the jewellery quarter; he works as a salesperson and keeps his artistry secret from others. Sonia introduces him to a potential buyer, but their encounter escalates when he pushes for a nude-model sculpture, prompting a confrontation in his flat that makes her run away.
Marriage collapse and lockout
The marriage breaks down irrevocably. Sonia is locked out of her apartment and discovers that her son has been given to Rachel. She learns she may live in a tiny apartment owned by Sender and kept for 'business purposes', effectively making her his mistress, and she hands back the keys and leaves.
Homelessness and a guiding beggar-woman
With no friends answering her calls, Sonia becomes homeless. She meets a beggar-woman on the street who leads her to an empty studio and provides food. The woman invokes an old legend that her brother spoke of, meant to bolster Sonia's resolve.
Sonia returns to Ramon and temptation grows
Sonia goes to Ramon's place and he lets her stay. She admits she has destroyed every good thing she had, while Ramon removes her jewellery and remarks that her necklace is 'a chain'. The pair end up kissing as their frayed boundaries blur.
Dreams, crucifix, and the widow's revelations
Sonia dreams of her brother returning from the lake, and wakes to a crucifix on the wall. She visits the Rebbe's widow, who explains that Sonia's fire talk woke a flame in the Rebbe, leading him to say 'I love you' for the first time in 20 years and possibly triggering his heart attack. The widow also helps Sonia reclaim property from Sender's safe.
Return of the ring and a pause
With Ramon's ring back in her possession, Sonia returns it to him but confesses she doesn't want to stay, feeling she doesn't belong. Ramon offers her time to think about what she wants.
Mendel's arrival and fragile hope
Mendel returns and Sonia asks after their son, then asks if he misses her as well. He apologizes for forgetting her birthday and gives her a ruby as a token of regret, inviting her to visit their son.
A quiet closing
Mendel leaves; Sonia says 'God bless you,' signaling a moment of human connection and cautious acceptance of a new, uncertain future.
Explore all characters from A Price Above Rubies (1998). Get detailed profiles with their roles, arcs, and key relationships explained.
Sonia Horowitz (Renée Zellweger)
Sonia is a distressed, curious woman who yearns for beauty and emotional connectedness beyond her arranged marriage. Her awakening clashes with her husband’s rigid religiosity, driving a search for autonomy. She experiments with desire, risks alienation, and ultimately asserts her own needs over strict obligation.
Sender Horowitz (Christopher Eccleston)
A self-serving jeweler who wields power in his marriage. He cultivates a morally ambiguous lifestyle and treats Sonia as a means to satisfy his desires, not as an equal partner. His control and lack of genuine care highlight the conflict between appearance and ethical responsibility.
Mendel Horowitz (Glenn Fitzgerald)
A devout Hasidic husband who prizes religious study and order, often at the expense of emotional intimacy. He is capable of kindness but emotionally distant, enforcing traditional rules. He remains protective of his son while navigating his own marriage’s breakdown.
Rachel (Julianna Margulies)
Sonia’s sister-in-law who embodies pragmatism and duty within the family. She becomes a gatekeeper in the custody crisis, upholding responsibility and tradition even as she witnesses Sonia’s turmoil. Her actions reflect the pressure of family loyalty in a tight-knit community.
Ramon Garcia (Allen Payne)
Puerto Rican artist and jewellery designer who secretly pursues his craft while working in the jewellery quarter. He offers Sonia a space for creativity and a step toward independence, even as their relationship becomes complicated by power dynamics and desire. His artistic vision contrasts with the restrictive world around him.
Rebbe Moshe (John Randolph)
The community’s spiritual guide whose authority frames Sonia’s crisis. He embodies tradition, yet Sonia’s questions push him to a moment of unexpected warmth, revealing the tension between faith and individual yearning. He represents the moral center around which family life revolves.
Beggar Woman (Kathleen Chalfant)
A compassionate street figure who helps Sonia in her moment of vulnerability, guiding her toward a new space and offering shelter. She anchors the film’s mythic cadence, invoking legends that frame Sonia’s longing for transformation.
Learn where and when A Price Above Rubies (1998) takes place. Explore the film’s settings, era, and how they shape the narrative.
Time period
Late 20th century
The story unfolds in a contemporary late-20th-century Brooklyn. It depicts a society with arranged-marriage expectations, religious observance, and modern urban contrasts. The action moves through apartments, shops, a jewellery workshop, and public venues in New York, including Chinatown. The period frame emphasizes the tension between tradition and personal autonomy.
Location
Brooklyn, New York, Chinatown, New York, New York City jewellery district
Set in a dense Brooklyn neighborhood, the film also visits Chinatown and the city’s jewellery quarter. The setting blends a close-knit Hasidic world with the bustle of urban New York, showing both religious spaces and commercial streets. It’s a modern, intimate urban landscape where family, ritual, and desire collide. The city itself acts as a character, shaping Sonia's opportunities and constraints.
Discover the main themes in A Price Above Rubies (1998). Analyze the deeper meanings, emotional layers, and social commentary behind the film.
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Freedom vs Tradition
Sonia’s awakening collides with the strict rules of her Hasidic world. She questions what is sacred, seeking beauty and connection rather than obedience. The narrative follows her struggle to define personal desire within communal norms. It examines how tradition can protect as well as imprison.
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Beauty and Jewelry
Jewelry becomes Sonia's language of longing and agency. The design world Ramon inhabits becomes a vehicle for transformation and risk. The objects she encounters symbolize power, value, and rebellion against constraint. The jewelry trade frames the conflict between commerce and artistry.
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Identity and Belonging
Sonia negotiates her place within family, faith, and her own desires. The story probes what it means to belong to a community while resisting its limits. Her journey toward self-definition tests loyalties and relationships. The film suggests that identity is forged through choice as much as tradition.

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Discover the spoiler-free summary of A Price Above Rubies (1998). Get a concise overview without any spoilers.
In the bustling neighborhoods of Brooklyn, Sonia Horowitz steps into a new chapter of adulthood the moment she gives birth to her first child. Bound by tradition, she is married through an arranged union to Mendel Horowitz, a devout Hasidic scholar whose devotion to study and community rituals leaves little room for the emotional intimacy Sonia silently craves. The film paints their household with a reverent yet restrictive atmosphere, where the expectations of faith intersect with the everyday demands of motherhood, creating a quiet tension that permeates every room.
Sonia’s inner world is a tapestry of yearning for something she can barely name—a beauty that feels both forbidden and essential. Her sister‑in‑law, Rachel, offers a compassionate ear, while occasional encounters with the broader city introduce her to lives that pulse with a different rhythm. A charismatic figure, Sender, runs a jewellery business that glimmers with artistic possibility, and a private, enigmatic designer, Ramon Garcia, hints at a creative refuge beyond the confines of her married life. These peripheral relationships act as mirrors, reflecting the stark contrast between her prescribed role and the more expansive horizons she glimpses.
The tone of A Price Above Rubies is intimate and contemplative, grounding its story in the richly textured world of a close‑knit religious community while allowing the protagonist’s quiet rebellion to ripple through the narrative. Visual motifs of fire and jewellery underscore themes of desire, restraint, and the search for identity. As Sonia navigates the delicate balance between devotion and self‑discovery, the film invites viewers to linger in the spaces where faith and personal longing meet, leaving the outcome of her journey intriguingly open.
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