Sidse Babett Knudsen

Sidse Babett Knudsen
Knudsen at the César Awards 2016 ceremony.
Born	(1968-11-22) 22 November 1968 (age 48) Copenhagen, Denmark
Occupation	Actress
Years active	1994–present

Sidse Babett Knudsen (Danish pronunciation: [ˈsisə b̥ab̥ɛd̥ ˈkʰnusn̩]; born 22 November 1968) is a Danish actress who works in theatre, television, and film. Knudsen made her screen debut in the 1997 improvisational comedy Let's Get Lost, for which she received both the Robert and Bodil awards for Best Actress.

Following the critical success of her debut, Knudsen has been considered one of the top Danish actresses of her generation. In 2000, she again won both best actress awards for the comedy romance Den Eneste Ene (English title: The One and Only). In 2016, she won the César Award for Best Supporting Actress for the film Courted (L'Hermine). Knudsen has also received award nominations for her roles in Monas Verden (Mona's World) and Efter brylluppet (After the Wedding).

Knudsen achieved international recognition for her leading role as fictional Danish Prime Minister Birgitte Nyborg in the Danish TV series Borgen.

Knudsen was born 22 November 1968 in Copenhagen, the daughter of Ebbe Knudsen, a photographer, and Susanne Andersen, a school teacher. From 1987 to 1990, she trained in acting at the Theatre de l'Ombre in Paris despite knowing little French. Upon returning to Denmark, Knudsen played roles for the experimental theatre OVINE 302 as well as at the Betty Nansen and Royal Danish Theatres in Copenhagen. She is unmarried and has a son, born in 2005.

In 1997 Knudsen debuted in the lead role of Julie in Jonas Elmer's slice-of-life comedy Let's Get Lost. The film's script was only an outline, requiring the actors to improvise their roles and dialogue. Knudsen said she wasn't very good at improvisation and accepted the part only because she thought it would be a lightweight summer comedy. The film became a breakout hit in Denmark and Knudsen received both the Robert Award and the Bodil Award for Best Actress. Critics called Knudsen's performance dominating. Film critic Kim Skotte of Politiken wrote that Knudsen had hit a new tone with a "special ability to capture the modern woman's uncertainty and strength."