Sandra Hüller’s ‘Rose’: Gender & Identity in 17th-Century Germany | Berlinale 2024
- Berlin – February 15, 2026 – Sandra Hüller, the Oscar-nominated German actor, is drawing attention at the 76th Berlin International Film Festival with her role in Markus Schleinzer’s...
- “Rose” centers on a mysterious soldier, Rose (played by Hüller), who disguises herself as a man and arrives in a secluded Protestant village shortly after the Thirty Years’...
- Hüller spoke about the film’s resonance in a contemporary context, noting the continued stigmatization of gender nonconformity.
Berlin – – Sandra Hüller, the Oscar-nominated German actor, is drawing attention at the with her role in Markus Schleinzer’s period drama, “Rose.” The film, which had its world premiere today, explores themes of gender identity and societal constraints in 17th-century Germany, a subject Hüller says remains strikingly relevant.
“Rose” centers on a mysterious soldier, Rose (played by Hüller), who disguises herself as a man and arrives in a secluded Protestant village shortly after the Thirty Years’ War. Claiming to be the heir to a long-abandoned farmstead, Rose presents documentation to support her claim, but faces suspicion and resistance from the wary villagers. The film delves into Rose’s attempts to integrate into the community while concealing her true gender, a deception born out of necessity and a desire for belonging.
Hüller spoke about the film’s resonance in a contemporary context, noting the continued stigmatization of gender nonconformity. “The stigmatisation of gender nonconformity depicted in ‘Rose’ is increasing again today,” she stated, highlighting the film’s timely message. The actor’s preparation for the role was particularly demanding, requiring extended time for each take to fully embody the character’s complex duality.
The story of “Rose” isn’t entirely fictional. According to Hüller, the narrative is rooted in numerous documented cases of women who lived as men during the 17th century in Germany and Austria. This historical basis adds a layer of authenticity and weight to the film’s exploration of gender and identity.
Directed by Markus Schleinzer and co-written by Schleinzer and Alexander Brom, “Rose” boasts a cast including Caro Braun, Marisa Growaldt, Godehard Giese, and Robert Gwisdek. Gerald Kerkletz served as cinematographer, with editing by Hansjörg Weißbrich and a musical score composed by Tara Nome Doyle. The film is a production of Schubert Füm, ROW Pictures, and Walker & Worm Film, and is being distributed by The Match Factory and Filmladen Filmverleih in Germany via Piffl Medien.
The film’s production involved a collaborative effort between Austrian and German companies, reflecting a growing trend of co-productions within the European film industry. Schubert Füm, ROW Pictures, and Walker & Worm Film spearheaded the production, with Johannes Schubert, Philipp Worm, Tobias Walker, and Karsten Stöter serving as producers.
“Rose” is competing for the Golden Bear at the Berlin International Film Festival, placing it among a select group of films vying for the festival’s top prize. The festival unveiled its 2026 competition lineup, which also includes Amy Adams’s drama “At The Sea” and Karim Aïnouz’s “Rosebush Pruning.”
Following its premiere in Berlin, “Rose” is scheduled for theatrical release in Austria on , distributed by Filmladen Filmverleih, and in Germany on , through Piffl Medien. The 93-minute drama, filmed in German, promises a nuanced and thought-provoking exploration of identity, belonging, and the challenges faced by those who defy societal norms.
Early reviews of the film, including one from Variety, praise Hüller’s performance as “phenomenal” and highlight the film’s “arresting character study.” The film’s meticulous direction and controlled narrative are also being lauded, suggesting “Rose” is a significant addition to the festival’s competition and a compelling work of historical drama.
The film’s synopsis reveals that Rose’s motivations extend beyond simply claiming an inheritance. She seeks stability and a place to call home, a desire that underscores the universal human need for acceptance and belonging. However, her carefully constructed identity is fragile, built on a foundation of deception that threatens to unravel as she navigates the complexities of village life.
Hüller’s commitment to the role, as evidenced by the extensive preparation required for each take, suggests a deep engagement with the character’s internal struggles and the historical context in which she exists. The actor’s willingness to tackle such a challenging role further solidifies her reputation as one of the most compelling performers working in contemporary cinema.