Jella Haase cover story by KEYI Studio with interview by Grzegorz Bacinski

Jella Haase is one of Germany’s most fluid acting talents—she’s a force of nature with a vibe you won’t forget and a presence that can shift from raw to razor-sharp in a single frame. International audiences know her as the explosive lead in Netflix’s cult spy series Kleo, but Haase’s range runs deep—from the gritty realism of Combat Girls, to the punk-pop chaos of Lollipop Monster, to her breakout role in the iconic Fack ju Göhtetrilogy.

With awards like the Bavarian Film and the Günter Strack Television Award under her belt before the age of 25, Jella has become a shape-shifting powerhouse across screen, stage, and now, fashion. She moves between genres—and lives—like she changes jackets: instinctively, unapologetically, and always in her own rhythm.

For this KEYI cover story, we catch up with Jella in full flight: grounded in Berlin, fearless in her craft, and dancing somewhere between melancholy techno and Italo disco.

Let’s start with a simple introduction. Who is Jella Haase?

I keep asking myself that. Sometimes I wonder what would happen if I cut off my acting identity. What would remain… Can we ever really answer that question?

Jella Haase is a friend, an earthling, a daughter, a sister, an actress, a reader, a writer, a lover, a child at heart—and a peanut-flips eater. But not necessarily in that order. I pretty much just love to have fun. I love finding joy in every chapter of life. And maybe that craving for good feelings is what Jella Haase is all about.

What inspired you to start acting, and how did you get your start in the industry? Was it always like this since you were a child?

I guess I always wanted to be an actress. Today, when I watch old videos of myself as a kid, I feel a little embarrassed—it’s so obvious that I wanted to be in front of a camera. But really, Harry Potter was kind of an awakening moment. I kept wondering: who is that girl playing Hermione (Emma Watson)? And why wasn’t it me?

How do you prepare for a role, especially when it’s vastly different from your own experience?

I have a mentor—my speech coach—who I work with to prepare my roles. We analyze every single word down to the last detail.

When I get a script, I usually know pretty quickly if it sparks something in me—if it opens up a whole world inside me. Then I start working on the character. I make collages, go on a kind of investigation, collecting impressions, images, music that fit her. Sometimes I write a biography. Gradually, the character flows into me.

Sometimes I even start dressing like her in my private life—though that usually happens unconsciously. As a fellow actor once put it, by then you’re already on final approach.

I love the prep phase before shooting, when there’s not too much pressure yet. Once filming starts, the soul has to run free. And during acting, for a short moment, you forget everything else.

Berlin is known for its diversity, and it’s rare to meet a “true Berliner” like you, born and raised here. How does the city feel to you, then and now? How has it shaped you?

I love Berlin. Even though it has changed so much over the years, I’ll always be a Berliner. And even if it sounds cliché, the TV tower just gives me that feeling of home.

I’m grateful to be rooted here. My family, my friends—they’re all in Berlin. But I also view the city’s development with concern. The people who really give Berlin its soul are being pushed out.

The last free spaces—like Tempelhofer Feld—need to be protected, with initiatives like THF 100%. You can’t get more Berlin than that.

Berlin—and my parents—gave me an incredibly free youth. Maybe it was like being part of the art scene in the late ’80s or ’90s. That time was special. I also loved my childhood and teenage years here. It felt personally meaningful and unique.

Berlin is also a creative hub. How does the city inspire you creatively—in acting and in fashion?

I feel safe and held in Berlin, and I think that sense of freedom is one of the biggest sources of inspiration.

I also just love watching the city and its people on warm spring evenings—how they wander through the streets with an Aperol or a “Späti beer,” how they express themselves. That vibe can really spark something inside you.

…and when we met you, we felt you are Berlin—even your music taste was Berlin through and through. You even liked our weird Italo Disco playlist at the shoot! It was such a pleasure working with you. Since music is such a big part of our identity—if you go out dancing, where can we find you?

Haha, that’s so sweet—thank you. The feeling was mutual. It really was a pleasure. You had such a gentle energy—I felt totally at ease. I can’t wait to dance with you all again soon.

I love open airs—like the ones on May 1st or at Karneval der Kulturen. I also love street music, especially trumpets and Balkan vibes, or concerts by Berlin artists like Fuffifufzich.

But honestly? I love dancing to techno. And fun fact—Goa! I used to go to a lot of festivals. I’m into melodic, poetic, melancholic techno—or the kind of Goa that just slaps.

Looking at your long list of films—how would you reflect on your journey? Have any actors or directors influenced your craft?

I’ve learned so much over the years just by observing. That’s the beautiful thing—film is really about stealing from your experiences, consciously or not.

Theatre director Marius Schötz once told me something I’ll never forget. When I started at the Volksbühne, I was full of doubt. I thought, without formal training from one of those respected acting schools, I don’t belong on a stage.

That artistic divide between theatre and film is often exaggerated—almost artificially enforced. So I showed up thinking I had to start from scratch and “learn to do real theatre.” Even though I’d been accepted, I still felt like an outsider.

Marius helped me realize I could and should trust my own intuition—even on stage. That this was actually my strength.

My time at the Volksbühne really expanded my perspective and shaped me deeply. After two years of theatre, I went on to shoot Kleo, and honestly, I couldn’t have played Kleo the same way without that experience.

What has been your most challenging role to date, and how did you overcome those challenges?

To grow into the role of Kleo was definitely a challenge. First of all, being born and raised in Kreuzberg, I had a huge respect for the East German story; I was afraid of some kind of cultural appropriation. Plus I couldn’t really grasp the genre at first—maybe because it didn’t fully exist before?

But right now I’m also facing a big challenge. I’m playing a very quiet and subtle character who learns to emancipate herself in a village at the end of World War II—The film explores themes such as what happens when fear blinds people and when they become infected by propaganda.

Is there a role you felt particularly connected to? What made it special?

Hmm… I feel connected to almost every role I’ve played in the last few years.

We recently saw you in Season 2 of Kleo, which just dropped on Netflix. Your characters range from bratty to deadly to fairytale princess. How do you approach such a wide variety?

That’s the beauty of acting—you can be anyone and anything.

Kleo has received international acclaim. How has the show’s success impacted your career?

It brought me to Keyi magazine 🙂

In Fack ju Göhte, you nailed the comedic timing. How does preparing for comedy differ from dramatic roles like Puppenspieler or Combat Girls?

I think Chantal is just in my blood at this point. But it’s a myth that comedy is easier than drama—quite the opposite. Try writing a truly great joke that doesn’t fall flat—it’s tough.

I love finding humor in drama and drama in humor. Ideally, I prepare for both with equal seriousness—because in real life, tragedy and comedy are always intertwined.

You’ve received the Bavarian Film Award and the Günter Strack Television Award early on. Did that affect your confidence or direction?

Definitely—though probably on a subconscious level. I’m very critical of my own work and am always thinking about what I could’ve done better.

What role does fashion play in your life, and how does it influence your characters?

I think I used to be super punk—just throwing everything on at once. Now, I think more about what I wear and really enjoy it.

I love how a good outfit can transform you—whether it’s for a red carpet or a photo shoot. I also admire other people’s style and immediately wonder how they live, what kind of person they are. Clothes tell stories. I use that a lot in my work.

How does a character move in a certain costume? You can even apply that to everyday life. Sometimes I wake up and just know how I want to look. Those are usually good days.

I imagine it’s summer in Provence—what do I want to wear? What feeling should the dress give me? And then I go find that dress.

Though sometimes, the feeling doesn’t come. It’s hard to go from the outside in. From the inside out? That’s easier.

You’ve worked with major magazines like Vogue, Harper’s Bazaar, and Fräulein, and represented both high fashion and indie designers. How do you connect with fashion? What are your values?

I still feel like a newcomer in the fashion world. It’s exciting to work with timeless, iconic brands—and also to support young, local, sustainable designers.

When I found out I’d be on the Vogue cover, it felt like a dream come true. Even my dad knows Vogue!

For my first project with Harper’s Bazaar and Gucci, the theme was love—and I got to include my grandma and my dog in the video.

When you can tell stories through fashion, that’s what makes me happiest. That’s always the goal.

Sustainability is important to me—and so are the people behind the brands. What energy do they bring? That really matters.

Do you have any go-to rituals or routines that help you stay grounded in such a dynamic career? What’s your secret?

Stay calm and grounded? Haha. My friends were never super impressed by my job—or maybe they were, but they never made a big deal out of it.

I think I’ve treated it the same way. Other kids played soccer—I was just filming.

I’m very aware of my privilege. But even now, it makes zero sense to get a big head. Why would I? We’re all just people.

And a film only works if every team member does their part. There’s no reason not to stay grounded.

That said, the film industry can be confusing and tough. Maybe the secret is that… there is no secret.

Listen to—and trust—your Bauchgefühl (gut feeling). That’s it.

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What’s next for you in your acting career? Any exciting projects or roles on the horizon? I remember you mentioned a few special ones—could you tell us more about them?

Two films are in post-production, too. “Schwarze Schafe 2”, a crazy, fast-paced social satire, will be released in mid-July. This film was produced completely independently by Oliver Rihs. No subsidy money in it, no money from TV stations. And later in the year, a film by really wonderful friends of mine that we shot last autumn in Greece will be ready to hit the screen.

Plus, I’m filming three really exciting, major projects this year—and all of them are directed by women, which makes me so happy. They’re intense stories. Right now, I’m working on a film called The Crux. “KRUX tells the story of a deeply unsettled people and the dark tale of the downfall of a small village community shortly before the end of the Second World War, as right-wing terror turns against its own population.” It’s a debut project and a German-Polish co-production with Ewa Puszczynska and Cala Film.

If you weren’t an actress, what do you think you’d be doing instead?

Probably writing—or working with kids. I actually wanted to study history at some point. Maybe I still will…

TEAM CREDITS

Photography, Video Editing & Art Direction: Izabella Chrobok @berlin_bunny_ & Grzegorz Bacinski @eyes_dice from @keyistudio

Video Footage: Ömer Ak @oomerak Music: @cursesforever

Fashion @elodie.carstensen  @marcelostertag @mm6maisonmargiela @gcdswear @balenciaga@solenelescouet @rickowensonline  @jimmychoo @aziz_rebar  ( Artisan Assistance @dillan_sari )  Pr @lillie2pr @blackbirdberlin @haebmau.atelier

Styling: Loïs Anni @lois__anni

Makeup & Hair: Rocco Kowalski @roccokowalski_

Nail Artist: EUPHORIA NAILZ @euphoria__nailz

Set Design: Tuaundja Kotjipati @tundjk

Assistant: @getit.art

Studio: LENS Studio @lensstudiosberlin

interview by Grzegorz Bacinski

Discover more fashion content here.

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