Warrior in Women's Clothing: Sandra Hüller's Extraordinary Role in 'Rose'

While navigating the star-studded maze of her first U.S. awards season two years ago for roles in “Anatomy of a Fall” and “The Zone of Interest,” Sandra Hüller must have felt somewhat tickled when dubbed a “breakthrough performer.” After all, the astonishing talent behind the character “Toni Erdmann” had already been shining brightly on the world stage since her stirring debut in 2006’s “Requiem.” As such, it should come as no surprise that she once again delivers a staggering performance in “Rose,” portraying a 17th-century war veteran with a vault of secrets (including her concealed identity as a woman) under her unarmed, masculine attire. And boy, is her performance a masterful mix of unexpected subtlety and raw emotion!

However, don’t be fooled into thinking that "Rose" is just a prop to showcase Hüller's Herculean acting prowess. This film, crafted by groundbreaking Austrian director Markus Schleinzer, is a tightly-wound symphony of refined artistry in every sense - from its eerily stark visuals to its exquisitely timed final edits to the pressing socio-political commentary subtly woven into its precise script. One out-of-tune move from any actor would cause this perfect ensemble to come crashing down. Fortunately for Schleinzer, Hüller was on deck- a virtuoso who not only delivered a stellar performance but also masterfully embodied the film’s intricate portrayal of gender roles and privilege, both past and present.

Schleinzer's films are akin to a pot of slow-brewed coffee, taking time to achieve the absolute perfect balance. Considering that "Rose" is just his third feature in over 16 years, it's clear that Schleinzer savors the process. Coming eight years after his bold sophomore effort “Angelo,” “Rose” might just be his most accessible creation yet, bound to intrigue discerning arthouse buyers with a blend of heart-wrenching storytelling, artistic elegance, and Hüller’s captivating presence.

The film’s protagonist Rose, beautifully embodied by Hüller, has a straightforward reason for living her adulthood as a man. “There is more freedom in trousers,” she states, “and they’re just a piece of cloth, so I put them on." However, this decision was not taken lightly in 17th century Germany, especially in the stern Protestant village where Rose chooses to make her home after enduring the horrors of the Thirty Years’ War.

Rose’s transformation from an enigmatic newcomer to the respected heir of a local farmstead forms the crux of the narrative. Wordlessly navigating societal norms, she even wins herself a marriage proposal from a smitten neighbor who knows not her secret – that the man he thinks is the right match for his daughter Suzanna (Caro Braun) is actually a woman. Through this unique domestic setup, the film cleverly uncovers the gender biases and expectations prevalent in a severely conservative society.

Seed-like hints of humor light up unexpectedly throughout the film, easing the tension in the most dire of situations. Despite the fictional narrative, "Rose" resonates with historical truths, thanks to Schleinzer’s meticulous research into similar stories of women masquerading as men throughout the centuries.

Amid rising uncertainties and questions around sexual identity, a cautious tenderness unfolds between Rose and Suzanna, forming a flicker of warmth at the heart of the movie. In an armored yet vulnerable performance, Hüller blends the unpredictability of the human heart with the film’s carefully crafted mise-en-scène.

Among its many artists’ contributions, most notably are the stunning monochrome visuals by long-time collaborator Gerald Kerkletz and a minimal a capella vocal score by Tara Nome Doyle, which together captures all the emotions that our stoic protagonist keeps under wraps. After all, in the chilling world of "Rose," silence does speak louder than words.