Sandra Hüller Shines in ‘Rose’: A Thoughtful Look at Gender Roles in 17th-Century Germany at the Berlin Film Festival
Sandra Hüller emerged as a standout at the 2023 Cannes Film Festival, featuring prominently in two of the competition’s most lauded entries: Jonathan Glazer’s The Zone of Interest and Justine Triet’s Anatomy of a Fall. Her return to the festival circuit underscores her growing reputation as a versatile actress, adept at navigating complex and intellectually engaging material, much like Tilda Swinton. In her latest project, Rose, Hüller stars in a historical drama that unfolds like a folk tale, blending various true-life narratives—some real and some fictionalized—into a cohesive story.
Directed by Markus Schleinzer, who gained attention with his strikingly nuanced 2011 debut Michael, Rose presents a portrait of an ordinary man in 17th-century Germany. Yet, in a twist, this man is revealed to be a woman. Schleinzer previously examined unsettling themes in Michael, which depicted the life of a real-life criminal in a surprisingly sensitive manner. Rose serves as a companion to that work, exploring the life of a struggling farmer through the lens of gender identity.
Watch on Deadline
Schleinzer, who has previously worked as a casting director for Michael Haneke, reflects a similar aesthetic in Rose. The film’s rustic black-and-white visuals evoke the haunting atmosphere of Haneke’s The White Ribbon. The setting appears timeless, where the villagers easily accept a mysterious newcomer who claims inherited ownership of a dilapidated farmstead.
This newcomer is actually Rose (Hüller), a character who has turned away from her past as a soldier. After a narrow escape from death, during which a bullet passed through her mouth, she presents herself as a man to claim the farm. Despite not conforming to traditional masculinity with her stylish ’70s feathered haircut, Rose successfully persuades the village elders to hand over the property, though its conditions are far from ideal, with a decaying structure and no livestock remaining.
Determined to succeed despite warnings about the demanding nature of the farm, Rose revitalizes the operation, earning the respect of the townspeople, particularly after tackling a wild bear. However, her efforts spiral into complexity when a neighboring landowner offers his daughter, Suzanna (Caro Braun), in marriage. The couple faces societal pressure to have children, a challenging expectation given Rose’s circumstances—made even more intricate when Suzanna reveals she is pregnant.
Rose finds herself grappling with the roles of husband and father, especially after an allergic reaction leads to Suzanna uncovering her secret. Initially horrified, Suzanna demands Rose leave, but after reconsideration, they strike an uneasy agreement. Rose argues that leaving would endanger Suzanna under her father’s control. This delicate truce becomes central to Schleinzer’s thoughtfully constructed narrative. Rose is characterized as a dedicated husband and hard worker, yet the threat of exposure looms over their relationship.
Though addressing themes resonant in contemporary discussions on gender identity, Rose is not about a woman aspiring to be a man; rather, it examines her choice to present as a man for greater freedom. This simple yet profound premise illustrates the harsh realities of cross-dressing in their historical context, where societal penalties are grave. The film opens with an ominous image of a shallow grave, hinting at the lethal stakes involved in the struggle between genders.
Title: Rose
Festival: Berlin (Competition)
Director: Markus Schleinzer
Screenwriters: Markus Schleinzer, Stuart Evers.
Cast: Sandra Hüller, Caro Braun, Marisa Growaldt, Godehard Giese, Augustino Renken
Sales: The Match Factory
Running time: 1 hr 33 mins
