Finding Freya

Some of Celine's most demanding work on CALIBRATION will happen internally.

She identifies Freya's traumatic experience as one of the scenes she is most anticipating — and one of the most difficult.

“It is such a core plot point and simply needs to be spot-on,” she says. “It requires so many different building blocks that exist within Freya in that exact moment and that are needed throughout the rest of the film.”

There are darker emotional territories ahead as well.

Without revealing where the screenplay takes Freya, Celine acknowledges that accessing the character's capacity for rage presents an unusual challenge precisely because she understands where such an emotion can come from.

Her task is not to perform anger.

It is to find what exists underneath it.

That pursuit of psychological truth has already shaped the developing relationship between actor and director.

Celine describes working with Serani Hunyi as an unusually instinctive process.

“She’s to the point, but leaves space for intuition and creativity, while really listening to what her actors need.”

Her more colourful description is perhaps even more revealing:

“She surfs the wave, while at the same time she is the wave that creates the momentum — but she leaves space for us dolphins to splash around and add even more beauty to whatever she is creating.”

That creative freedom matters on a film built around restraint rather than performance for performance's sake.

A Different Kind of Production

CALIBRATION also attracted Celine for reasons extending beyond the screenplay.

The production is being built around a female-led creative and production team, something she had not previously experienced on a film.

“I was honestly impressed that it was an all-female production team,” she says.

She was equally intrigued by the production's controlled integration of artificial intelligence into its filmmaking process.

Celine describes herself as neither a heavy user nor a natural advocate of AI. That scepticism made the project more interesting rather than less.

She wanted to see what was possible.

For a film concerned with the collision between technological progress and human complexity, that tension feels particularly appropriate.

CALIBRATION does not simply ask its audience to fear the future or embrace it.

It asks what happens when technology genuinely solves a human problem — and whether solving it is necessarily the same thing as saving us.

For Celine, that ambiguity is where the film becomes most powerful.

“Is suffering worth it?” she asks.

It's a deceptively simple question.

Her own answer is less certain.

“Each scar tells a story — even the ones you can’t see.”

And that is ultimately what she hopes audiences carry with them after CALIBRATION ends: not the film's answer, but their own.

“Opinions might differ. Experiences might differ. The answers might be completely different,” Celine says.

“But in the end, we all have to make our own choices.”

For the actor now entrusted with bringing Freya Hollister to the screen, that question is about to become very real indeed.

Celine Rosalie Takes the Lead as Freya Hollister in CALIBRATION

PRAGUE — August 2026 — International actor Celine Rosalie has joined the cast of the psychological dystopian drama CALIBRATION, taking on the lead role of Freya Hollister ahead of the film’s Prague production later this year.

Classically trained in the UK and the United States, and now based in Prague, Celine Rosalie steps into the psychological centre of a story examining trauma, grief, and one of humanity’s oldest impulses: the desire to make suffering disappear.

For Celine, it was precisely the complexity of those questions that made CALIBRATION impossible to dismiss.

“I stopped dead in my tracks at certain parts of the screenplay,” she says. “There are two types of people in this world: the ones who are excited about the future and the ones who are scared of it. This story definitely has something for both.”

She describes the film as both deeply connected to the world we inhabit now and unsettlingly relevant to the one we may be creating.

At its centre is Freya Hollister, a gifted autistic quantitative systems analyst struggling with the aftermath of a traumatic event. When a neurological intervention offers the possibility of ending that suffering, CALIBRATION begins asking a far more difficult question:

How much of ourselves would we sacrifice to stop the pain?

For Celine, that question — and Freya herself — became intensely compelling.

“Even when I was first reading the screenplay, I found myself more drawn to Freya than to any other character,” she says.

There are elements of the character she recognises within herself, she explains, but they exist in places she doesn't ordinarily expose. Playing Freya means bringing some of those qualities to the surface.

That instinct fits closely with Celine’s approach to performance.

Rather than imposing a fixed technique on a character, she begins by looking for points of connection and difference between herself and the character on the page. She describes reading the screenplay like searching beneath behaviour for its psychological cause.

“I never, ever judge my character,” she says. “Everyone always has a deeper reason behind what they do.”

Her objective is simple, even when the process is not: find a way into the character’s mind and tell the truth.

That becomes particularly significant with Freya.

Celine is acutely conscious that Freya's autism cannot become a collection of visible mannerisms or an acting device.

“I want to portray truth,” she says. “I want to approach that part of her with respect and honour the experiences of autistic people rather than reducing her to a diagnosis. That responsibility matters to me.”

It's an approach strongly aligned with director Serani Hunyi’s conception of the character: Freya's neurodivergence is integral to how she processes the world, but it is never the sum total of who she is.

The greater challenge is what happens when the structures surrounding Freya begin exerting control over that identity.

Celine sees the film's exploration of trauma as particularly timely.

“The one thing I think everyone can relate to, in one way or another, is trauma and the difficulty of dealing with it,” she says. “Every human being has a different way of reacting to it and dealing with it.”

And CALIBRATION refuses to provide the audience with an easy answer.

Instead, Celine believes viewers will leave the film having to answer its central proposition for themselves.

“How much each of us would be willing to sacrifice for a life without trauma — and whether it would even be worth it.”

From Cologne to Oxford, Los Angeles, and Prague

Born in Cologne, Germany, with German, Czech, Italian, and Romanian roots, Celine grew up surrounded by different cultures, languages, and artistic disciplines.

Performance entered her life almost immediately. Her mother, born in Prague, is a ballet dancer and acrobat, and Celine first appeared on stage at age three. She later trained in voice and piano, and became a state champion gymnast at age twelve.

A spinal injury brought her competitive gymnastics career to an abrupt end and redirected that discipline toward acting.

Shakespeare became an early catalyst. After discovering his work at school and subsequently playing Ariel in The Tempest, Celine began travelling to London while still completing her studies to audition for drama schools.

She was accepted into The Oxford School of Drama before moving to Los Angeles to attend The American Academy of Dramatic Arts, where she completed her Associate's Degree and was subsequently selected for the Academy's prestigious Theatre Company.

She remained in Los Angeles for several years, working across film and theatre before returning to Europe and establishing Prague as her primary base.

Fluent in German, English, Czech, and Italian, Celine has increasingly focused her career on European and international film and television, and on stories capable of crossing cultural and linguistic borders.

Her screen work includes Hommage à l'amour (2020), recipient of Best Feature Film at the CATE Film Festival, and Love Is Not Love (2020), which screened at 112 festivals across 22 countries and received numerous awards and nominations.

On stage, her performance as Rose Chandler in the original play Try Not To Think About It, Alice Childress contributed to BroadwayWorld Los Angeles Award nominations for Best Ensemble, Best New Play, and Best Play in 2022.

Her latest film work includes Chasing Persephone, directed by Joe Bongiovanni.

The gorgeous Celine Rosalie photographed by Serani at The Emblem Prague Hotel

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CALIBRATION is produced by Serani Studio (Prague), in association with Bottomline AI (France)