Markus Schleinzer brings Rose’s search for freedom to Seminci
Markus Schleinzer presented Rose at Seminci in Valladolid, with Sandra Hüller playing a woman who lives as a man in 17th-century Germany. The Austrian director explained the historical research behind his third feature and the choice to film in black and white. He sees its restricted visual palette as a way to concentrate attention on the performances.
Arts··Midday
A historical drama arrives in Valladolid
Markus Schleinzer presented Rose in the official competition at the 71st Seminci in Valladolid, Spain. Sandra Hüller stars in the Austrian filmmaker’s third feature, a historical drama set in 17th-century Germany. It follows a woman who lives as a man, drawing on historical examples of people seeking freedoms denied to them. Seminci’s account of the presentation and Tribuna de Valladolid’s coverage both identify the film among the day’s competition entries. Hüller had received the Berlinale’s Silver Bear for best performance. The Valladolid screening was the film’s Spanish premiere and brought Schleinzer into discussion with the festival audience.[1], [2]
Research follows women seeking freedom
Schleinzer investigated testimony from the early modern period while developing the film’s historical setting. He said he encountered accounts of another three hundred women who had attempted to escape restrictions imposed on their sex. That number describes cases he found, rather than a complete count: he noted that surviving examples concerned people who were discovered or caught. Their motives differed. Some sought to escape abuse, others wanted education, and others acted amid war. For Schleinzer, the common desire was greater freedom. He connected those histories with his continuing interest in how societies treat people who are regarded as different.[1]
Black and white concentrates the performance
The film’s black-and-white photography emerged from work with cinematographer Gerald Kerkletz. Schleinzer described removing colour as a reduction in visual information that makes what remains more forceful. In his view, this gives performers greater responsibility for telling the story instead of leaving that work to surrounding visual elements. He called black and white a narrative tool. Discussing Rose’s selection as an international-feature Oscar candidate, he placed greater emphasis on reaching viewers and sharing conversations such as the one in Valladolid. Whether a prize follows, he said, the act of making the film has already taken place and remains his priority.[1]
