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Rose

Rose

2022106 minMidcredits score: 94th percentile of all films
Director
Niels Arden Oplev
Starring
Sofie Gråbøl, Lene Maria Christensen, Anders W. Berthelsen, Søren Malling

Over the course of a week, sisters Inger and Ellen find their relationship challenged on a highly anticipated coach trip to Paris. Inger reveals her struggles with schizophrenia to the group, receiving both pity and discrimination. On arrival, it soon becomes clear that Inger has a hidden agenda concerning a figure from her past, ultimately involving the entire group in her hunt for answers.

Where to watch

Where can I watch Rose?

As of October 24, 2026, MovieCove lists Rose streaming on The Roku Channel (free) and to rent or buy on Prime Video.

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Your rating, lists and review

Highlights

What stands out about Rose?

Rose earns 4 badges, led by Universally Loved and Top 5% in Comedy.

  • Rank
  • Reception
  • Awards and box office

Reception

Is Rose worth watching?

Rose's Midcredits score is the 94th percentile of all films, from 5.7K ratings across 4 sources. 85% liked it (rated it 7 or higher out of 10).

Midcredits score

How well it was received

94th percentile

Better received than 94% of films

96th percentile among Comedy94th percentile among 2020s
Acclaim (how much people like it)89th
Approval (how many liked it)95th

74 /100

89th percentile of all films

94th percentile among Comedy87th percentile among 2020s

Rating distribution

Most people land high, with a thin tail of low scores from those it didn't reach.

85% liked it

95th percentile of all films

97th percentile among Comedy94th percentile among 2020s
85% rated it 7–1015% rated it 1–6

Critics 92% · Audience 88%

On Rotten Tomatoes, critics and audiences approve at similar rates.

Awards

0 Oscars won · 0 Oscar noms · 3 wins / 7 noms overall

Reach

How many have seen it

84th percentile

5.7K ratings across platforms

82nd percentile among Comedy84th percentile among 2020s
TMDB popularity, last 37 days to Oct 26Up 12% in 30 days

Box office

Worldwide gross$455K

35th percentile earner in its genre.

What reviewers say

Common ground

A sincere, sweet film about a schizophrenic woman and her family.

Fans praised

  • Sofie Gråbøl's exceptional performance as a schizophrenic woman
  • emotional rollercoaster balancing tragedy, comedy and suspense
  • sensitive and nuanced portrayal of mental health and family dynamics

Detractors panned

  • amateurish execution with slow, awkward editing and pacing
  • overly on-the-nose situations lacking producer oversight

What stands out

Acting90

Sofie Gråbøl's Oscar-worthy performance; whole cast strong

Emotional impact85

makes you cry, laugh, think, and feel deeply

Characters70

beautifully described characters showing realistic reactions to mental illness

Humor70

comedy lands alongside touching moments

Sound and music65

music adds emotional kick, blends nicely

Atmosphere60

immersive tone; feels true to itself

Pacing30

slow and awkward editing reminiscent of a debutante

Preferred by

No notable difference between any of the groups: each pair ranks it within 10 percentile points.

  • Women vs men 5 points apart

Watch experience

What is Rose like to watch?

Conclusions only — categories and positions, no plot detail.

No single mood: browse every movie of this kindNo one kind of watch fits it, so it is described by how heavy it is.

Watch this when you are ready for heavy feelings, and you want something serious.

It takes its time, has a few laughs and leaves you thinking. Skip it when you want an easy night or you want things to move fast.

ToneFeelDemandwhat the answer rests onexact position · filled zone: the category

What it asks of you

Room for heavy feelings and patience.

What it feels like

Moods
BittersweetHopefulMelancholic
Heaviest: late
Warm humor
Register
Tender · 13% of filmsWarm
Told as
Three-act: Setup, confrontation, resolution — the default Hollywood shape.
ToneThe film approaches its characters and subject with gentle sincerity, blending humour and sadness without irony.
The rideReviews highlight a mix of laughter and tears, with a touching and emotional core that likely builds toward a poignant ending.
StructureThe story follows a linear, chronological progression of the coach trip from Denmark to Paris.

How it leaves you

what you carry away

Thinking.

Thought-provokingBittersweet
Why it leaves you this wayThe film stays with you, prompting reflection on mental illness and family, with a poignant mix of sadness and warmth.
How it ends · evidence
Bittersweet ending

Story archetype

where it sits among all films
Monster — 21% of films. A threat menaces the hero's world and must be defeated.Rags — 3% of films. A rise from lowliness to fortune, status, or recognition.Quest — 10% of films. A journey toward a defined objective, with companions and obstacles.Voyage — 4% of films. Into a strange world and back again, changed.Comedy — 11% of films. Confusion and cross-purposes resolved into harmony.Tragedy — 9% of films. A flaw or fixation drives the protagonist to ruin.Rebirth — 13% of films. A stalled or darkened life reopened and renewed.Mystery — 7% of films. A question drives the story — who did it, what happened, what is real — until it is answered.No archetype — 22% of filmsPredator — 6% of films. A creature or killer hunts the protagonists (Jaws, Alien).Tyrant — 6% of films. A human villain holds power over the hero's world (Die Hard).Invasion — 2% of films. An external force attacks the home or world (Independence Day).Oppressive state — 2% of films. A government, its agencies or a secret faction inside them is the monster (V for Vendetta).Corporate villainy — 1% of films. A company or its bosses are the monster (Erin Brockovich).Institutional injustice — 1% of films. A court, prison, police force, school or church is itself the enemy (Spotlight).Class system — under 1% of films. The gap between rich and poor, or a rigid hierarchy, is the monster (Parasite).Technology turns — under 1% of films. Technology people rely on becomes the threat (The Terminator).Inner demon — 1% of films. The monster is within — addiction, illness, a dark double.Underdog triumph — 2% of films. Rise through competition or contest (Rocky).Social ascent — under 1% of films. A climb in class or status (Pretty Woman).Fame and fortune — under 1% of films. An artistic or showbiz rise (A Star Is Born).Rise and fall — under 1% of films. Wealth or power gained, self lost (Scarface).Hidden worth revealed — under 1% of films. The protagonist's true value finally recognized.Treasure hunt — 1% of films. Retrieve an object of value (Raiders of the Lost Ark).Rescue — 4% of films. Retrieve or save a person (Saving Private Ryan).Mission — 5% of films. Accomplish or destroy a defined objective (Mission: Impossible).Journey home — under 1% of films. The goal is getting back (Finding Nemo).Pilgrimage — 1% of films. The journey itself transforms; the destination is symbolic.Portal fantasy — under 1% of films. Transported into another world (The Wizard of Oz).Fish out of water — 2% of films. Displaced into an unfamiliar social world (Elf).Survival ordeal — 1% of films. Trapped in a hostile environment, fighting back (Cast Away).Time displacement — under 1% of films. Unstuck in time (Back to the Future).Descent — 1% of films. A night-journey into an underworld or subculture (After Hours).Romantic comedy — 4% of films. Lovers kept apart by confusion, united at last.Comedy of errors — 3% of films. Mistaken identity or misunderstanding drives the plot.Farce — 2% of films. Escalating absurd chaos and coincidence (The Hangover).Buddy comedy — 1% of films. A mismatched pair forced together (Rush Hour).Comedy of manners — 1% of films. Social codes and class satirized (Clueless).Hubris — 1% of films. Pride or ambition invites the fall (There Will Be Blood).Obsession — 2% of films. A fixation consumes the protagonist (Black Swan).Corruption arc — 2% of films. Step-by-step moral decay (The Godfather).Doomed love — 2% of films. Love destroyed by circumstance (Brokeback Mountain).Crushed by fate — 3% of films. Destroyed by forces beyond the protagonist's control.Redemption — 3% of films. Moral reawakening of a hardened soul (A Christmas Carol).Healing — 5% of films. Recovery from grief or trauma (Good Will Hunting).Liberation — 2% of films. Breaking free of a confining life (Room).Second chance — 2% of films. A stagnant life re-opened to love or purpose (Groundhog Day).Puzzle — 1% of films. A clue-by-clue puzzle you can try to solve before the reveal (Knives Out, Clue).Investigation — 5% of films. A long pursuit of the truth that may never be fully solved (Zodiac, Memories of Murder).Enigma — 2% of films. The mystery is what is real, or what is actually happening (Mulholland Drive).RebirthHealing
Every story archetype, clockwise from the top
  • Monster 21%: Predator 6% · Tyrant 6% · Invasion 2% · Oppressive state 2% · Corporate villainy 1% · Institutional injustice 1% · Class system under 1% · Technology turns under 1% · Inner demon 1%
  • Rags 3%: Underdog triumph 2% · Social ascent under 1% · Fame and fortune under 1% · Rise and fall under 1% · Hidden worth revealed under 1%
  • Quest 10%: Treasure hunt 1% · Rescue 4% · Mission 5% · Journey home under 1% · Pilgrimage 1%
  • Voyage 4%: Portal fantasy under 1% · Fish out of water 2% · Survival ordeal 1% · Time displacement under 1% · Descent 1%
  • Comedy 11%: Romantic comedy 4% · Comedy of errors 3% · Farce 2% · Buddy comedy 1% · Comedy of manners 1%
  • Tragedy 9%: Hubris 1% · Obsession 2% · Corruption arc 2% · Doomed love 2% · Crushed by fate 3%
  • Rebirth 13% (this title): Redemption 3% · Healing 5% (this title) · Liberation 2% · Second chance 2%
  • Mystery 7%: Puzzle 1% · Investigation 5% · Enigma 2%
  • No archetype 22%

Rebirth: A stalled or darkened life reopened and renewed. · Healing: Recovery from grief or trauma (Good Will Hunting).

13% of films fit this archetype

A loose fit — the map only half-holds this one.

Why this archetypeThe sisters' coach journey to Paris tests and potentially heals their strained relationship, with mental illness as a central challenge.

What it's about

7 groups · 53 themes
Bonds — 27% of filmsSelf — 22% of filmsPower — 7% of filmsMorality — 16% of filmsSurvival — 15% of filmsSociety — 9% of filmsIdeas — 5% of filmsRomantic love — 15% of filmsMarriage — 2% of filmsFamily bonds — 21% of filmsParenthood — 2% of filmsFriendship — 9% of filmsLoyalty — 4% of filmsIdentity — 14% of filmsComing of age — 5% of filmsAging — under 1% of filmsSelf-worth — 7% of filmsAmbition — 7% of filmsPurpose — 9% of filmsMemory — 3% of filmsObsession — 3% of films. A fixation consumes the protagonist (Black Swan).Power — 2% of filmsCorruption — 3% of filmsGreed — 3% of filmsClass — 3% of filmsOppression — 4% of filmsFreedom — 5% of filmsJustice — 13% of filmsDuty — 2% of filmsRevenge — 4% of filmsGuilt — 3% of filmsRedemption — 6% of films. Moral reawakening of a hardened soul (A Christmas Carol).Forgiveness — 1% of filmsSacrifice — 4% of filmsBetrayal — 5% of filmsDeception — 9% of filmsSurvival — 17% of filmsWar — 1% of filmsViolence — 4% of filmsMortality — 2% of filmsGrief — 6% of filmsTrauma — 7% of filmsMental illness — 1% of filmsAddiction — 1% of filmsIllness and disability — under 1% of filmsCommunity — 14% of films. Consequences reach a town, institution or group.Isolation — 5% of filmsPrejudice — 3% of filmsDisplacement — 1% of filmsFaith — 3% of filmsTradition vs change — 2% of filmsFame — 3% of filmsLegacy — 4% of filmsFate — 1% of filmsFree will — under 1% of filmsTruth — 4% of filmsHope — 5% of filmsNature — 2% of filmsArt — 4% of filmsTechnology — 1% of filmsSelfFamilybonds
Every theme, clockwise from the top
  • Bonds 27% (this title): Romantic love 15% · Marriage 2% · Family bonds 21% (this title) · Parenthood 2% · Friendship 9% · Loyalty 4%
  • Self 22%: Identity 14% · Coming of age 5% · Aging under 1% · Self-worth 7% · Ambition 7% · Purpose 9% · Memory 3% · Obsession 3%
  • Power 7%: Power 2% · Corruption 3% · Greed 3% · Class 3% · Oppression 4% · Freedom 5%
  • Morality 16%: Justice 13% · Duty 2% · Revenge 4% · Guilt 3% · Redemption 6% · Forgiveness 1% · Sacrifice 4% · Betrayal 5% · Deception 9%
  • Survival 15%: Survival 17% · War 1% · Violence 4% · Mortality 2% · Grief 6% · Trauma 7% (this title) · Mental illness 1% (this title) · Addiction 1% · Illness and disability under 1%
  • Society 9%: Community 14% · Isolation 5% · Prejudice 3% · Displacement 1% · Faith 3% · Tradition vs change 2% · Fame 3% · Legacy 4%
  • Ideas 5%: Fate 1% · Free will under 1% · Truth 4% · Hope 5% · Nature 2% · Art 4% · Technology 1%

Bonds

Family bondsMental illness · 1% of filmsTrauma · 7% of films
Interrogates its theme: Questions its theme without settling the answer.Intimate stakes: Consequences reach a person or a household.Dual lead
How it treats its themeThe core of the film is the relationship between two sisters tested during a trip, with mental illness (schizophrenia) as a central challenge that affects their bond.
StanceThe film questions how mental illness affects family bonds and compassion, without settling into a clear moral judgment, as indicated by reviews that praise its nuanced portrayal.

The world

ContemporaryUrbanIn transitRealistic
Orchestral classicalAmbientSupportive music · original score · Henrik Skram
SettingA coach trip from Denmark to Paris
MusicThe score likely underscores emotional shifts with gentle orchestration.

Content guide

Is Rose okay for kids?

Ratings in 7 other countries
  • UK12A
  • Germany12
  • Denmark11
  • Netherlands9
  • Norway9
  • Spain12
  • Sweden11

No detailed content scores for this title yet.

What content warnings does Rose have?

Not screened for content warnings yet.

Cast and crew

Who is in Rose?

Cast

Sofie Gråbøl
as Inger
Career best: Their highest-reaching film role by billing, audience size and rating.Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Lene Maria Christensen
as Ellen
Anders W. Berthelsen
as Vagn
Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Søren Malling
as Andreas
Veteran: 15 or more years in, with as much work as the typical long-career actor.Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Luca Reichardt Ben Coker
as Christian
Newcomer: A standing when this film came out that sits in the bottom quarter of working actors today.
Peter Gantzler
as Bus-Ole
Christiane Gjellerup Koch
as Margit
Newcomer: A standing when this film came out that sits in the bottom quarter of working actors today.
Karen-Lise Mynster
as Gudrun
Illyès Salah
as Nadir
First film: No prior film role; they had worked in television.
Jean-Pierre Lorit
as Jacques

Crew

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