Alice E. Bier Zandén

Zandén's early screen work was the kind of thing you don't notice until later — small, uncredited, or supporting. She appeared as a nanny in the 2016 adaptation of *The Night Manager* (the same production her mother directed), which is either a great foot in the door or a complicated first credit depending on how you look at it. Short films followed: *Alice Is a Nice Girl* in 2017, *Before Bloom* in 2019. Then a blink-and-miss-it appearance as a Goth Girl in Anders Thomas Jensen's *Riders of Justice* (2020) — uncredited, but there. The shift happened in 2023. Bille August cast her in the title role of *Ehrengard: The Art of Seduction*, a Netflix period film based on Karen Blixen's novella. It's a demanding kind of role — the character carries the film's moral and emotional weight across its runtime — and Zandén handled it with a composure that felt earned rather than inherited. The production detail that won't leave anyone who covers it alone: Queen Margrethe II of Denmark designed the film's costumes. That's not a metaphor. The actual Queen. Vogue Scandinavia covered the story, and it's the sort of context that makes the whole project feel like a very specific cultural moment in Danish film history. She hasn't slowed down since. In 2024, she took on the role of Petra in *En af os ryster*, a Danish-language film that gave her room to work in a more contemporary register. Then 2025's *Generationer* — a series in which she plays Anne-Sofie — extended her into long-form television again. What's clear across this arc is that she's not chasing one type of project. Period drama, contemporary film, series work — she's moving across formats deliberately, and the directing studies at the Danish National School of Performing Arts suggest she's thinking about what comes after acting too (Panorama Agency, Wikipedia).