The Mime

A successful mod photographer in London whose world is bounded by fashion, pop music, marijuana, and easy sex, feels his life is boring and despairing. But in the course of a single day he unknowingly captures a death on film.

Le mari ne compte pas

La Flambée

What if Konstantin Gavrilovich, from Anton Chekkov's famous play, did not commit suicide and was murdered instead? And who did it? Boris Akunin's take on The Seagull unfolds as a comedic murder mystery.

Before an important audition, a mute theater student summons his five core emotions as he deals with the loss of a close friend.

Nathan Algren is an American hired to instruct the Japanese army in the ways of modern warfare, which finds him learning to respect the samurai and the honorable principles that rule them. Pressed to destroy the samurai's way of life in the name of modernization and open trade, Algren decides to become an ultimate warrior himself and to fight for their right to exist.

In a chaotic 19th-century Paris teeming with aristocrats, thieves, psychics, and courtesans, theater mime Baptiste is in love with the mysterious actress Garance. But Garance, in turn, is loved by three other men: pretentious actor Frederick, conniving thief Lacenaire, and Count Edouard of Montray.

When Maria witnesses an accidental family tragedy, she's told it never happened and must decide what to do with the truth.

July 2006. Another war breaks out in Lebanon. The directors decide to follow a movie star, Catherine Deneuve and a friend, actor and artist Rabih Mroue;, on the roads of South Lebanon. Together, they will drive through the regions devastated by the conflict. It is the beginning of an unpredictable, unexpected adventure...

Back in prison, Didrik, 33, discovers a new way of expression and happiness through theatre and acting, and starts looking back at his past and upbringing with a sadistic mom and bullying peers.

On the streets they call cash dead presidents. And that's just what a Vietnam veteran is after when he returns home from the war only to find himself drawn into a life of crime. With the aid of his fellow vets he plans the ultimate heist -- a daring robbery of an armored car filled with unmarked U.S. currency!

Lillian Hall, a Broadway actress, has never missed a performance throughout her long, illustrious career. Yet in rehearsals for a new play her confidence is challenged. People and events conspire to take away her ability to do what she loves most.

Ian, a commercially successful stage director, mounts an avant-garde production of "Othello" for the sole purpose of destroying Tyson, the actor who stole his fiancee Anne from him. Fanatic in his commitment to art, personal integrity and Zen Buddhism, Tyson makes the mistake of accepting the role of Othello in good faith at Anne's urging, only to find himself trapped in Ian's vengeful scheme, an escalating nightmare of absurdly bad theatre that threatens to spin out of control and push them all to the breaking point.

In autumn 1944, during the Liberation of Brittany, writer Louis Guilloux worked as an interpreter for the American army. He was a privileged witness to some little-known dramatic aspects of the Liberation: the rapes and murders committed by GIs on French civilians. He also discovered the racism of American military justice. This experience haunted the novelist for thirty years. In 1976, he recounted it in a short novel, "Ok, Joe", which went unnoticed. This film compares his account with the memories of the last witnesses to these forgotten crimes and their punishments.

Journalist Amar falls for a mysterious woman on an assignment, but she does not reciprocate his feelings. However, when Amar is about to get married, the woman shows up at his doorstep asking for help.

As young children, half-siblings Axel and Yanne are adopted to Norway. They are separated on arrival, him to material wealth on Oslo's west side, her to an average family on the east side. In contrast to her younger brother, Yanne remembers their journey to Norway, but she has no idea where he might be now.

The last vestiges of a family that has gone from cherry season to sorrow... Madame Ranevskaya is a spoiled, aging aristocrat who, upon returning from a trip to Paris, must face the loss of her magnificent Cherry Orchard estate after defaulting on her mortgage. In denial, she continues to live in the past, deluding herself and her family, while the magnificent cherry trees are chopped down by the new owner Lopakhin, her former serf, who has his own agenda.

John Gabriel Borkman, a former bank director, was imprisoned for fraud but believes he was wrongly convicted. He had invested clients' money in a major industrial venture but was reported by his friend Hinkel, who was in love with Borkman's former fiancée, Ella Rentheim. Borkman now lives on the first floor of the house, with his estranged wife, Gunhild, living on the ground floor. He occasionally receives visits from his friend Wilhelm Foldal, who supports Borkman's delusion that the bank will reinstate him. In his youth, Borkman betrayed his love for Ella by marrying her twin sister Gunhild to advance his career. After his conviction, Ella took care of their son Erhart and now wants him to live with her and take her name. Borkman agrees, but Gunhild refuses to let her sister take their son.

Mary has just been released from prison. She wants to come home and forget all about it but Briana has other ideas. Over a tumultuous two days a family is forced to confront not just their past but themselves. Because even if you refuse to hear the truth, the truth doesn’t go away. Róisín McBrinn returns to Clean Break (Favour) to direct this powerful story of family and forgiveness by Deborah Bruce (The House They Grew Up In). A co-production from National Theatre and Clean Break.

A homely maid and a scarred ex-GI meet at the cottage where she works and where he was to spend his honeymoon prior to his accident. The two develop a bond and agree to marry, more out of loneliness than love. The romantic spirit of the cottage, however, overtakes them. They soon begin to look beautiful to each other, but no one else.