Mina-Giselle Rüffer: “Free yourself from what you think others expect”

Mina-Giselle Rüffer started acting when she was just ten. Growing up in a creative family — her dad works in musical theatre, her mom was an opera singer — Mina was exposed to the arts from an early age and quickly found her passion for acting. She took classes, joined a youth agency,  and landed early roles in children’s films. By 16, she stepped into more mature roles, including on Tatort. Then came the series Druck, her first lead role at 17, which brought her widespread recognition and earned the prestigious Grimme Prize in the children and youth category. Mina even paused her final year of school to fully commit to the project. 

While others might dream of a life in front of the camera, Mina never knew anything else. Having made that choice so early, she recently decided to step away and enrolled as a student to pursue a path she no longer wanted to push aside: education. After two semesters away, she’s returning to acting and has started going to castings again. Just last week, the ZDF series Tschappel premiered, with Mina in the lead role Pia. What began as a talk about acting evolved into a broader reflection on what it means to be young today.

FRANKA KLAPROTH: You started acting at a very young age. Looking back, what are the biggest advantages and challenges of entering the industry so early?

MINA-GISELLE RÜFFER: One of the biggest advantages is that you start building connections early. You grow alongside other young creatives. But at the same time, it’s important not to overlook how unusual it actually is to work as a child. There aren’t many industries where a ten-year-old can work professionally and is expected to perform. Even though no one put explicit pressure on me, I definitely felt it. Kids are incredibly perceptive — they pick up on how adults behave around them. I quickly found myself wanting to please everyone. This can become stressful.

FK: Winning the Grimme Prize at 18 was a big moment. Did that add pressure?

MR: It was a great honour, but yes, I did feel the pressure. After the Grimme Award, I felt like I couldn’t allow myself to slip — every performance, every casting had to meet that same standard. In my mind, there was no room for a misstep. Now, I have a more relaxed approach. I understand that mistakes are part of the process.

FK: You made a conscious decision to step back from acting and focus on your studies for a while. What motivated that shift, and was it a hard decision to make?

MR: It really wasn’t easy. In this industry, you often get the feeling that you have to say yes to everything — that if you step away, you’ll be forgotten. I was scared that things would move on without me. But that didn’t happen. At some point, I just felt the need to make a grown-up decision for myself and to enter a space that had nothing to do with my childhood, or with acting. That’s what I found in studying.

FK: You’re studying Gender Studies and Education. How did you land on those particular subjects?

MR: It took me a while to figure it out. I just knew I wanted to study something critical and political. At some point, I came across the field of sex education and found it super interesting — but you can’t actually study that as a Bachelor’s degree in Germany. So I started researching which majors would prepare me for a Master’s in that field, and that’s how I ended up with Gender Studies and Education.

FK: With your academic background, you’ve developed a critical eye for power structures. Where do you see the most pressing issues in the film industry?

MR: Things have started to shift, but there’s still a long way to go. Representation has improved on paper, but it’s far from reflective. Women still face an age barrier after 30, while male leads remain standard well beyond that. Behind the camera, the numbers are even worse: only around a quarter of films are directed or written by women. There’s also a 34% gender pay gap in the industry, which is huge — and unjustifiable. On top of that, people with marginalized identities, whether due to race, disability, or body size, continue to face systemic exclusion. So yes, progress is happening, but not fast or deep enough.

FK: Now, you’re planning a return to acting. How did that come about?

MR: I’ve finally found the strength and energy to embrace acting again. I needed the break — for my studies and my personal growth. Now it feels right to come back, even while studying.

FK: You’ve played both comedic and psychologically intense roles. Which do you prefer? 

MR: It depends on the phase I’m in. Sometimes I have a strong urge to speak out, especially on topics like mental health. On the other hand, Tschappel was a wonderful gift last year because I got to embody lightness, fun, joy, and those summery, romantic feelings. You take a bit of each character with you, so I try to find balance. If I only did heavy roles, it would drain me. I want to keep on doing both.

FK: What’s the hardest part of being an actor for you?

MR: Managing emotional intensity while staying functional. If I’m playing someone deeply hurt, I have to go there emotionally — but I also need to show up on time, know my lines, and work as a professional. That split can be hard to navigate. And of course, there’s always rejection, which is something you never really get used to, but learn to carry differently.

FK: The series Tschappel has just been released. You play seventeen year old Pia. Could you relate to her character?

MR: Pia just finished school, wants to study medicine, and is very ambitious. She feels the pressure of expectations. Over the series, she learns she doesn’t have to conform to be accepted. She starts making her own choices and that makes her happier. Without giving too much away: She makes a big decision that might not be what people expect from a free-spirited 17-year-old. I really liked playing her. It reminded me of that time right after school, which I think every young person goes through in some way.

FK: Many young people feel a bit lost these days. Is there any advice you’d like to share?

MR: Free yourself from what you think others expect — from what you feel you have to do to please parents, friends, or employers. Your body often signals when something isn’t right, and those signals get louder if you ignore them. Of course, not everyone has the same privileges, but if you can change something that makes you unhappy, do it. Especially in your twenties, don’t get stuck just because you think nothing better will come.

CREDITS

Photography: Tobias Kruse
Styling: Franka Klaproth
Production: Grace Issey/ MUTTER
Hair and Make-Up: Jana von Oheimb-Rosta
Photography Assistant: Jonas Mertens
Styling Assistant: Melina Meckoni
Talent: Mina-Giselle Rüffer