Film

Caroline Peters’ characters in film are intermediaries between worlds. The dynamic in her expressive performing has the finesse of a human metronome that continues to beat like a pendulum without ever missing the beat. As in her theater work, she aspires to liberate her characters and stories from the dictates of conventional understanding.

Effortlessly, she alternates between tragedy and comedy. Thus, immediate areas of tension arise within which the ambivalent behavior of her characters can believably evolve. Whether as a cleptomaniac housewife, who, with her thefts, resists bourgeois expectations, as the granddaughter of a Nazi criminal who seeks to understand the atrocities within an Israeli community, as a big city commissioner who is transferred to a village for disciplinary reasons and knows how to stir things up in her high-heels, or as a management consultant whose identity is stolen in the internet and who must fight for her life. With a deep understanding for the idiosyncrasies of the characters, the actress always finds her own approach to intelligently carve out the humanity and the enigma, but also the ambivalence and absurdity of the characters. The press celebrates her willful performances. The Süddeutsche Zeitung writes: 'She brings out what is hidden in the background. That is exactly why Caroline Peters is a special phenomenon in the acting profession. And important for television. There are only just far too few of her kind. Caroline Peters is meanwhile one of the conspicuously good actresses in the German film landscape.'

The intelligence and brilliance of the actress were recognized early on and put to use by directors such as Adolf Winkelmann, Arne Feldhusen, Chrostoph Schnee, Eva Spreitzhofer, Isabel Kleefeld, Jan Schomburg, Sathyan Ramesh, Sönke Wortmann and Vanessa Jopp. Caroline Peters' intelligent performances within a wide spectrum have made her a much sought-after actress. Thus, she has appeared in many ambitious film and television productions including 'Contergan' (Thalidomide), 'Im Netz' (In the Net)‚ 'Schlaflos' (Sleepless), 'Schöne Frauen' (Beautiful Women) or the international motion picture 'Walk on Water'. Whether with television hits such as 'Sweet September' or the cult series 'Mord mit Aussicht' (Murder with a View), in independent films such as ‘Womit haben wir das verdient?’ (What Have We Done to Deserve This?) and ‘Wie kommen wir da wieder raus?’ (How Do We Get Out Of This?) to box office successes like ‘Der Vorname’ (How About Adolf) and ‘Der Nachname’ (The Last Name) Caroline Peters playfully creates a great closeness to her audience achieving their loyalty. Her work in Film has received numerous awards, including the Adolph Grimme Prize, the Bavarian TV Prize and the 2016 Actor Prize for 'Best Actress in a Comedic Role'.