---
title: "Rose"
year: 2026
kind: "film"
canonical: "https://film.one/film/rose"
fi1m_id: "rose"
imdb_id: "tt25399154"
tmdb_id: 1176962
wikidata_id: "Q136458718"
fi1m_score: 80
critics_score: 83
critics_reviews: 14
published: "2026-09-24T11:18:56.630831+00:00"
updated: "2026-09-24T11:19:02.852801+00:00"
region: "IT"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Rose (2026)

Directed by Markus Schleinzer · 1h 34m · Drama, History, War

## Identity

Rose

- **Canonical:** https://film.one/film/rose
- **Type:** Film
- **Fi1m ID:** rose
- **IMDb ID:** tt25399154
- **TMDB ID:** 1176962
- **Wikidata ID:** Q136458718
- **Same entity:** https://www.imdb.com/title/tt25399154/, https://www.themoviedb.org/movie/1176962, https://www.wikidata.org/wiki/Q136458718

**Fi1m score: 80** · Critics 83 from 14 reviews

*In a sentence:* Sandra Hüller makes us wish the narrator would leave her to it

> Sandra Hüller gives this austere historical drama a vulnerability that its controlled storytelling sometimes threatens to suppress. We recommend it for her performance and its precise filmmaking, with a reservation about how firmly it directs our understanding of Rose.

## Synopsis

Rose (Sandra Hüller) stands at the centre of this historical drama about gender and the consequences of defying social rules. Suzanna (Caro Braun) shares the story, alongside the Bailiff (Robert Gwisdek) and the Large-Scale Farmer (Godehard Giese). A narrator, voiced by Marisa Growaldt, relates the events. The farmer’s family includes his wife (Maria-Victoria Dragus) and daughters. Told in black and white, the film approaches Rose’s experience as a folk tragedy, with attention to the restrictions placed on an individual by the surrounding society.

## Review

*Rose* is a good historical drama with an exceptional central performance, and our reservation concerns how much help that performance receives. Writing and directing, Markus Schleinzer approaches the policing of gender through a folk tragedy, keeping the telling deliberate and the emotions closely held. Sandra Hüller gives Rose enough vulnerability to make that restraint affecting, although the narration sometimes seems unwilling to let us reach our own understanding. We recommend it, provided a severe, patient film is what the evening calls for.

Hüller’s performance is tightly controlled without making Rose seem inaccessible, and that distinction matters throughout a story about the consequences of defying social rules. We were moved by the vulnerability she allows through such a restrained performance; the effort of maintaining composure becomes painful to watch. She gives us someone to attend to closely, rather than simply a position to agree with. The film’s treatment of gender is most persuasive when it leaves that work to her.

Gerald Kerkletz’s black-and-white cinematography is precise and austere, a suitable choice for a film so concerned with scrutiny and restriction. Its beauty does not soften the grimness, though the consistency of the visual control can become a little wearing. Olivier Meidinger’s production design contributes to the meticulous historical detail, giving the drama a convincing material setting without requiring us to admire the research separately. The care is welcome, even when we wish the film would loosen its grip for a moment.

Tara Nome Doyle’s a cappella music is another strong choice: the exposed human voice suits a story whose emotional weight rests so heavily on its performers. It adds unease without needing the familiar insistence of a swelling orchestral accompaniment. Hansjörg Weißbrich’s editing sustains the deliberate pace, allowing the performances room while preserving the film’s severity. At 94 minutes, this is a compact drama, although compactness does not necessarily make its measured progress feel brisk.

Caro Braun’s precise work as Suzanna deserves attention alongside Hüller’s, especially in a film where small differences in emphasis have to carry considerable weight. Schleinzer’s direction of the actors gives the moral difficulties seriousness without demanding a conspicuous display of emotion. This is where the austerity earns its keep: we have time to consider people whose circumstances resist an easy response. The performances remain the strongest reason to stay with the film when its grimness becomes oppressive.

The difficulty is the narration, voiced by Marisa Growaldt, and the authority Schleinzer gives it over our interpretation. There is a point at which careful storytelling starts to narrow the possibilities of a character, and *Rose* comes too close to it. Hüller’s subtlety invites us to wonder about Rose, while the telling can make that uncertainty feel less welcome than it should. For a drama challenging rigid expectations about gender, this is a consequential limitation, rather than merely a matter of taste about voice-over.

Within the historical drama, Schleinzer’s confidence and attention to performance are considerable virtues, and the film avoids making its subject feel like an academic exercise. Our enthusiasm stops short of the strongest praise because the emotional control sometimes becomes too restrictive. Still, Hüller and Braun make the patience worthwhile. Choose it for an evening when close attention feels like a pleasure, not another obligation.

*Fi1m score 80, published 24 September 2026.*

## What the critics say

Most critics respond warmly to Rose, with Sandra Hüller’s performance the clearest point of agreement. The reviews repeatedly praise her restraint, emotional force and ability to make the character compelling within Schleinzer’s austere approach. Praise also clusters around the precise black-and-white cinematography, historical detail and controlled storytelling. Several critics find the film affecting as well as intellectually engaging, particularly in its challenge to rigid gender roles; the a cappella score also draws praise.

Reservations concern the limits of that control rather than the acting. Slant Magazine finds the film engrossing but argues that its narration constrains its treatment of Rose’s gender. Elsewhere, the deliberate pace and grimness are generally treated as hurdles the film overcomes, not decisive weaknesses. Enthusiasm ranges from measured approval to emphatic praise, with little substantive dissent evident in the available summaries, though one review’s verdict cannot be established from its inaccessible text.

## Straight answers

**Is Rose worth watching?**

*Rose* is worth watching for Sandra Hüller’s affecting performance and its precise historical filmmaking; we score it 80 out of 100. We recommend it for an evening of patient, close attention, with the caveat that its narration sometimes tells us too firmly how to understand a character Hüller makes compelling without that help.

**How long is Rose, and what is it rated?**

*Rose* runs 1h 34m. It is a drama and history film.

**Where can I watch Rose in Italy?**

*Rose* is not on any streaming or rental service in Italy at the moment. It is available in 2 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Rose, and is it suitable for children?**

*Rose* has no UK or US certificate supplied, so we cannot give an age-rating recommendation or a firm assessment of violence. We find its grim atmosphere and restrained emotional pain oppressive at times rather than describe it as a frightening film. Its austere treatment of gender and social restriction makes it a choice for mature viewers rather than a recommendation for children.

**How does Rose compare to Orlando?**

*Rose* is the more severe choice beside [*Orlando*](https://film.one/film/orlando), whose playful approach to gender and history makes it the better fit for a lighter evening. We recommend *Rose* for Hüller’s vulnerable performance and meticulous historical detail, though its narration can overdirect our response; *Orlando* offers witty, welcoming fantasy, with some blunt observations about gender.

**What should I watch after Rose?**

After *Rose*, try [*Orlando*](https://film.one/film/orlando) (1992, Fi1m 81): For a more playful encounter with gender and the rules of history. Then [*Ida*](https://film.one/film/ida) (2013, Fi1m 85): Restrained performances and monochrome photography reward the same kind of close attention.

### Reviews we read (14)

- **Time Out**, Stephen A Russell (5/5): The review calls Schleinzer’s film a gender-upending masterpiece, with Hüller impeccable. It singles out her performance and the film’s delicate challenge to gender stereotyping. [Read](https://www.timeout.com/movies/rose-review-2026)
- **IndieWire**, Ryan Lattanzio (A-): The critic calls the film a shattering, potentially masterpiece-level achievement. They especially praise Sandra Hüller’s emotionally powerful performance and the film’s controlled visual style. [Read](https://www.indiewire.com/criticism/movies/rose-review-sandra-huller-markus-schleinzer-1235179192/)
- **The Hollywood Reporter**, David Rooney (90/100, inferred): Rooney finds the film an eloquent challenge to rigid gender roles and a terrific story told with confidence. He especially praises Sandra Hüller’s tightly controlled, charismatic performance. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/rose-review-sandra-huller-markus-schleinzer-1236506222/)
- **Vulture**, Bilge Ebiri (90/100, inferred): Ebiri calls the film mesmerizing and suggests Hüller delivers her greatest role yet. He praises the film’s austere, luminous black-and-white filmmaking and Hüller’s restrained, vulnerable performance. [Read](https://www.vulture.com/article/rose-review-sandra-huller-gets-her-greatest-role-yet.html)
- **Screen Daily**, Wendy Ide (85/100, inferred): Ide’s headline signals an enthusiastic verdict, describing the film as an arresting character study. She singles out Sandra Hüller’s performance as phenomenal. [Read](https://www.screendaily.com/reviews/rose-review-sandra-huller-is-phenomenal-in-arresting-character-study-set-in-17th-century-germany/5213915.article)
- **Variety**, Guy Lodge (85/100, inferred): Lodge finds the film an immaculately controlled, emotionally affecting folk tragedy, made accessible by Sandra Hüller’s extraordinary performance. He especially praises the stark black-and-white cinematography and the haunting a cappella score. [Read](https://variety.com/2026/film/reviews/rose-review-sandra-huller-1236663868/)
- **The Observer**, Jonathan Romney (84/100, inferred): Romney presents Rose as one of the festival’s best films, praising its meticulous historical detail and stark beauty. He also singles out Sandra Hüller’s commanding lead performance as a standout. [Read](https://observer.co.uk/culture/film/article/the-best-and-the-worst-from-the-berlin-film-festival)
- **The Guardian**, Peter Bradshaw (80/100, inferred): Bradshaw finds the film captivating and engrossing despite its grimness, praising its stark, beautiful photography. He singles out Sandra Hüller’s superb performance as the film’s driving force. [Read](https://www.theguardian.com/film/2026/feb/16/rose-review-sandra-huller-berlin-film-festival-gender-stereotypes)
- **Sight and Sound**, BFI (75/100, inferred): The critic finds the film an intriguing, quietly affecting tragedy about gender and history. Hüller’s subtle performance is singled out for providing the film’s emotional force. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/rose-sandra-huller-quietly-mesmerising-this-gender-defying-german-period-drama)
- **Slant Magazine**, Diego Semerene (3/4): Semerene finds the film engrossing but argues its controlled narration constrains its treatment of Rose’s gender. He praises Sandra Hüller’s subtle performance and the precise monochrome cinematography. [Read](https://www.slantmagazine.com/film/rose-review-sandra-huller/)
- **The Wrap** (80/100, inferred): The critic finds the film intellectually gripping and emotionally effective despite its deliberate, austere pace. They praise Sandra Hüller and Caro Braun’s precise performances and the film’s quiet handling of moral dilemmas. [Read](https://www.thewrap.com/creative-content/movies/rose-sandra-huller-review/)
- **Eye for Film**, Marko Stojiljkovic (78/100, inferred): The critic finds Rose powerful and timely, praising its portrayal of the enduring injustices faced by those who defy social rules. He singles out the casting and actor direction, especially Sandra Hüller’s finely layered performance. [Read](https://www.eyeforfilm.co.uk/review/rose-2026-film-review-by-marko-stojiljkovic)
- **Deadline**, Damon Wise (70/100, inferred): Wise regards the historical drama as a triumph and another showcase for Sandra Hüller. He particularly praises her remarkable, chameleonic performance and the film’s thoughtful folk-tale treatment of true-life stories. [Read](https://deadline.com/2026/02/berlin-film-festival-2026-movie-reviews-1236717971/)
- **The Playlist** (64/100, inferred): The URL identifies this as a review of the matching film. The page is blocked, so its verdict and specific praise or criticism cannot be established. [Read](https://theplaylist.net/rose-review-sandra-huller-delivers-another-stunning-performance-as-a-gender-swapped-soldier-berlin-20260220/)

## Details

- **Director:** Markus Schleinzer
- **Director:** Markus Schleinzer
- **Writer:** Markus Schleinzer
- **Cinematography:** Gerald Kerkletz
- **Editor:** Hansjörg Weißbrich
- **Music:** Tara Nome Doyle
- **Production design:** Olivier Meidinger
- **Costume design:** Doris Bartelt
- **Producer:** Johannes Schubert, Karsten Stöter, Philipp Worm
- **Cast:** Sandra Hüller as Rose; Caro Braun as Suzanna; Marisa Growaldt as The Narrator (voice); Robert Gwisdek as The Bailiff; Godehard Giese as The Large-Scale Farmer; Maria-Victoria Dragus as His Wife; Larisa Faber as His Deceased Wife; Annalisa Hohl as His Daughter
- **Runtime:** 1h 34m
- **Release (Italy):** 4 February 2027
- **Genres:** Drama, History, War
- **Trailer:** https://www.youtube.com/watch?v=80xR3G5eowo

## Where to watch in Italy

Not streaming, renting or buying in Italy at the last check.

Also available in: AT, DE. Add `?region=XX` to this URL for another country.

## Awards

- Berlin International Film Festival 2026: Best Leading Performance (won)

## If you liked this

- *The Return of Martin Guerre* (1982): Another historical drama where identity becomes everybody’s business, with consequences beyond the individual.
- *Orlando* (1992), Fi1m 81: For a more playful encounter with gender and the rules of history. — [Fi1m page](https://film.one/film/orlando.md)
- *The Witch* (2015): A harsher companion, with religious certainty making a small community frightening.
- *Ida* (2013), Fi1m 85: Restrained performances and monochrome photography reward the same kind of close attention. — [Fi1m page](https://film.one/film/ida.md)
- *The Night of the 12th* (2022): A patient examination of gendered assumptions, this time within a police investigation.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/rose