{"id":370586,"date":"2026-09-14T08:29:12","date_gmt":"2026-09-14T06:29:12","guid":{"rendered":"https:\/\/germany.10magazine.com\/?p=370586"},"modified":"2026-09-14T08:30:57","modified_gmt":"2026-09-14T06:30:57","slug":"cartier-reel-talent","status":"publish","type":"post","link":"https:\/\/germany.10magazine.com\/en_gb\/cartier-reel-talent\/","title":{"rendered":"CARTIER’S REEL TALENT: HANNah herzrpung and lena stahl on their new film corpus delicti"},"content":{"rendered":"
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How much can you trust your intuition in a factual world void of error? It\u2019s a fundamental question that Lena Stahl poses in her film adaptation of the Juli Zeh novel Corpus Delicti. Set in a near-future society governed by the \u201cMethod\u201d \u2013 a system that enforces health and transparency above all \u2013 the story follows neuroscientist Mia Holl, a model citizen whose <\/span>life unravels when her brother Moritz is accused of murder.<\/span><\/p>\n

The director has brought together an acclaimed creative team alongside a stellar cast including Damian Hardung, Alexander Fehling, Haley Louise Jones, Christian Friedel and Hannah Herzsprung, who plays the lead. It\u2019s the actor and director\u2019s biggest collaboration to date; and in the throes of film promotion, including a Cartier- bedecked 10 DE shoot, the two friends sat down to talk about their creative process, the importance of working <\/span>with German talent and why the film\u2019s overriding theme of autonomy is so prescient\u2026<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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How did you first meet?<\/b><\/p>\n

Hannah Herzsprung: We met via a shared project.<\/span><\/p>\n

Lena Stahl: Just to clarify, this happened a long time ago [laughs]. I had requested Hannah for this other project, which is still to be made, and that\u2019s how <\/span>we initially met. We wanted to shoot it, but somehow Corpus Delicti serendipitously weaselled its way in before that.\u00a0<\/span><\/p>\n

In 2021, you worked together on Mein Sohn as well. What\u2019s it been like working and being friends at the same time?<\/b><\/p>\n

HH: Trust is already there. During filmmaking, you get to know each other very quickly and intensely. Before working together, naturally you do your <\/span>research, but eventually you have to decide if you commit to the person and the project. In our case, the relationship grew over years, and we got to watch and <\/span>support each other along the way. Lena has always been there to exchange ideas. And it was always professional! I knew the friendship would remain, because it\u2019s strong and nothing can take that away from us. However, it\u2019s not like we see each other every evening after work. For this film, we actually<\/span>didn\u2019t at all.<\/span><\/p>\n

LS: Literally.<\/span><\/p>\n

HH: I haven\u2019t been to your apartment in Prague once.<\/span><\/p>\n

LS: Which is exactly why I was so happy when you called me that one time after your run, asking if I wanted to pop down for a minute.<\/span><\/p>\n

HH: That was in the very beginning, I still needed you then [laughs].<\/span><\/p>\n

LS: We weren\u2019t in friendship mode at all. Just casually asking to grab an espresso together felt like a welcome surprise. Randomly bumping into each other in some corner of Prague: \u201cWhat are you doing here?\u201d [Laughs]<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Watching the film, I could tell that everyone was tuning in to one another with respect and care, especially the relationship between Mia and Moritz.<\/b><\/p>\n

HH: It\u2019s an easy claim to make as actors: we are brother and sister. Damian, Lena and I had this intense week together with Giles Foreman, a brilliant acting coach. I formed this deep, trustful bond with Damian that goes far beyond acting. A feeling of being siblings rather than just pretending. When he enters a room now, I look at him and think: \u201cThere\u2019s my little brother.\u201d Crazy, right? What <\/span>a gift. Plus Lena being so open in participating herself.<\/span><\/p>\n

LS: After spending that week together, we built such a strong foundation of trust that, when we started shooting, we felt completely free to explore and take risks. This is what makes filmmaking so magical. <\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Damian Hardung has played that role before in a 2022 theatre production. What kind of dynamic did that bring?<\/b><\/p>\n

LS: It was great. I talked to him earlier today about the fact that our collaboration all started via letters. Working on the script, I had him in mind for the role, so I reached out. I had no idea he\u2019d played the character before. He came in with a critical stance on my script, which really intrigued me and inspired one of the scenes. Damian is a huge philosophy fan, always reading major works. <\/span>Hence, a lot of the material felt familiar to him.<\/span><\/p>\n

Corpus Delicti combines great local talent with international experience. That\u2019s always the appeal of European cinema.What reactions are you expecting?<\/b><\/p>\n

LS: Right now, German film has immense potential. Yet, this one sticks out from the rest, mainly because of the still prevalent divide between mainstream and <\/span>arthouse. To me, our film fits right in the middle. Corpus Delicti is meant for a wide audience, but still meets high artistic standards. That\u2019s important to me and I know there is nothing comparable in Germany right now. Hence, I don\u2019t know what it will bring, but I am glad that my producers Quirin Berg und Max Wiedemann, together with LEONINE, took the leap and made it happen. After all, we had six Oscar-winners on our team \u2013 the kind of talent great cinema demands, and I am incredibly proud we pulled it off.<\/span><\/p>\n

Lena, the script is an interpretation of the book. What are the essential aspects that make the film adaptation unmistakably yours?<\/b><\/p>\n

LS: Originally, the story was written for theatre. I always read it like a fable, a Kafkaesque approach.That\u2019s the character set-up \u2013 very consciously verging on <\/span>clich\u00e9. For film, you can\u2019t do that. Mia Holl, for example, felt very passive to me in the book. Which is why my first impulse was to make her significantly more active. Plus, a lot of the plot is told retrospectively in the book.My main goal was transporting everything into the now by letting viewers experience it through the main character. And what makes it \u201cLena Stahl\u201d? I\u2019d say my style of narration is character-driven within a genre that\u2019s actually plot-driven.<\/span><\/p>\n

HH: I can only thank Lena for creating something that is so her. It\u2019s thrilling to approach this story that way. Personally, I love reading novels and always have a little film running in my head. And I truly couldn\u2019t agree more with Lena\u2019s adaptation.<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Where did you shoot?<\/b><\/p>\n

LS: The movie was shot entirely in Prague. Production designer Christian Goldbeck made great use of the city\u2019s brutalist architecture, while we digitally expanded all the exterior locations. Our aim was to create a non-speccific European city of the future.<\/span><\/p>\n

The play was first shown in 2007 and the novel released in 2009, yet the plot feels as timely and relevant as ever. What is it that makes the story so relatable for audiences now?<\/b><\/p>\n

LS: There are many centuries- old themes. Take, for example, love as something that makes one believe in irrational things. A character who lives in a rational world is thrown into an irrational situation that makes them change their belief system. Since Orwell, the idea of an oppressive, controlling state and what that does to the individual has been omnipresent in many books and films. Dystopian worlds are intriguing but scary. By building such a world, cinematic or literary, a controlled environment to experience it becomes available. And you have heroes and heroines showing what happens if you go against the system, which is valuable for many reasons.<\/span><\/p>\n

German students read the novel as part of their final exams. Why is it important for younger generations?<\/b><\/p>\n

LS: Young people today are confronted with AI on every level. What do they still do entirely on their own? And how much of their work is truly the result of their own thinking? It\u2019s a huge topic of debate within education. Really delving deep into a novel is such a beneficial process for anyone, especially younger people. When I think back to my final exams, the things I\u2019ve learned, also on an emotional level, are so important. You take away a lot from dealing with such complex ideas, conflicts and questions as depicted in Corpus Delicti. How much am I willing to give to a system? How far is my free will compromised? I think it\u2019s incredibly relevant for the students\u2019 development.<\/span><\/p>\n

HH: As Lena said, one has to go through that process. The journey is the reward. Similarly to going through scripts, it\u2019s not about just learning the lines. As an actor, you have to really get the story in order to portray it according to how the author has conceptualised it.<\/span><\/p>\n

How did you approach character-building?<\/b><\/p>\n

HH: The script\u2019s my main foundation. Damian and I had it earlier, so that we didn\u2019t really have these classic table reads where by the end, everyone has a thousand questions. We read it and shot it, nothing to ask, simply due to the fact that Lena had written it so well and discussed it with us in such detail. The great thing about directing and acting is that while yes, I do portray Lena\u2019s interpretation of a character, there is so much fun in finding common ground through discussing a role.<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Are there memorable moments you keeping thinking about?<\/b><\/p>\n

HH: Oh, plenty! Let alone because this entire film was shot in seven weeks.<\/span><\/p>\n

LS: It was the hardest job I\u2019ve ever had to do, but also the most enriching one I\u2019ve ever <\/span>experienced. A while ago, a colleague said that once a film is ready for release, you no longer <\/span>have control over it. It is what it is. From there fate takes over. But what matters most is knowing that together you\u2019ve created something truly magical. Needless to say,we had some real challenges, especially Hannah. I mean, she had one day off. I distinctly remember one scene, the absolute lowest point for her character, which we had just wrapped. The director of photography, Philipp Haberlandt, stepped away from the scene with tears in his eyes. Looking around the room, everyone was crying \u2013 even the Czech crew members who couldn\u2019t understand the dialogue. They were an incredibly empathetic group of people who worked so well together despite any language barrier.<\/span><\/p>\n

HH: Respect also. That\u2019s what makes filming emotional scenes possible. There was no need to tell people to be silent and concentrate. It was a given, and I have rarely experienced that to such an extent. As an actress I sometimes ask myself, do I really fully go for that emotion now? You can\u2019t prep raw scenes, you have to be in that headspace. Especially for my character, Mia, who finds herself in a moral dilemma. I felt empowered and fearless. It\u2019s not easy to do that \u2013 it is extremely intimate, more than a love or sex scene.<\/span><\/p>\n

LS: In the end, it all boils down to trust. It\u2019s woven through every layer of this production, which perfectly ties in with the overarching theme of Corpus Delicti \u2013 intuition versus facts.<\/span><\/p>\n

HH: Voil\u00e0! Full circle.<\/span><\/p>\n



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Photographer MARK PILLAI<\/span><\/p>\n

Fashion Editor MARIE-LOUISE VON HASELBERG<\/span><\/p>\n

Talent HANNAH HERZSPRUNG and LENA STAHL<\/span><\/p>\n

Text LISA ZIRNGAST<\/span><\/p>\n

Hair ADIAM HABTEZION using BJORN AXEN<\/span><\/p>\n

Make-up LEE HYANGSOON using GUCCI Beauty<\/span><\/p>\n

Manicurist MADDIN TRUONG<\/span><\/p>\n

Set designer DESIREE KLEIN<\/span><\/p>\n

Digital operator KARO KLOSS<\/span><\/p>\n

Photographer\u2019s assistant PAUL SKULIMMA<\/span><\/p>\n

Fashion assistants MICHELLE STOLL and ELISA HANKE<\/span><\/p>\n

Production JUSTIN LAHMER at Berlin Westend<\/span><\/p>\n

Post-production NITTY GRITTY BERLIN<\/span><\/p>\n

Special thanks to SARAH LOU FALK at NEXT MANAGEMENT, 1ST FLOOR <\/span><\/p>\n



<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"How much can you trust your intuition in a factual world void of error? It\u2019s a fundamental question that Lena Stahl poses in her film adaptation of the Juli Zeh novel Corpus Delicti. 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