Rose, directed by Markus Schleinzer, Austria/Germany 2026, 94'

Here is the true story of a fraudster who deceived the authorities and the people. She was born a woman, but she wore a man's name, and she committed many evil deeds under a false name.

The Rose is one of the most famous titles of the last Berlinale thanks to the daring role of Sandra Hüller, who was awarded the Silver Bear for the title creation. The actress, known for Anatomy of the Fall, The Hail Mary Project, The Zone of Interests and Tony Erdmann, takes on the role of a mysterious soldier this time. For this role, she not only underwent an unusual physical metamorphosis, hiding femininity under a masculine outfit, but also phenomenally combined roughness with gentleness and humor.

A war-scarred soldier arrives in a remote village who claims to be the heir of an abandoned farm. The stranger initially arouses distrust, but quickly convinces the villagers to himself thanks to the documents brought, uncommon diligence and willingness to submit to the strict rules of the Protestant community. In the cruel realities of 17th century Germany, someone who has no rights can only be himself in disguise - therefore the title character must scrupulously hide his true nature and identity. The Rose is a perverse story about the price of freedom and the courage to live on your own terms. Questioning patriarchal privilege and binary gender division, coldly analyzing social mechanisms, Markus Schleinzer's film turns out to be surprisingly contemporary. Although minimalist, it painstakingly recreates the details of 17th-century German countryside life, and elegant, austere photographs build a dense atmosphere of increasing danger. Schleinzer, like Robert Eggers, is a master of styling and an unsettling aura. For both, history can be a pretext for a film parable about our time. The Rose pays tribute to those who paved the way for us, but also reminds us that the right to be ourselves is a prey that must still be fought for.