L’effet miroir

The brand-new president of the Republic is about to deliver his inaugural speech when he is struck by an intense itch in his nose. Refusing to furiously scratch his nose live in front of the entire nation, he decides to meet with a psychoanalyst supposed to rid him of this inconvenient tickle. They only have an hour before the fateful appointment, the duration of a session. As time ticks away and the best-kept secrets gradually surface, the two men confront each other, each attempting to seize control. Who, the psychologist or the president, will emerge victorious from this intimate duel?

After a catastrophic global war, a young filmmaker awakens in the carnage and seeks refuge in the only other survivor: an eccentric, ideologically opposed figure of the United States military. Together, they brave the toxic landscape in search of safety... and answers.

National Theatre Live’s 2010 broadcast of Alan Bennett’s acclaimed play The Habit of Art, with Richard Griffiths, Alex Jennings and Frances de la Tour, returns to cinemas as part of the National Theatre's 50th anniversary celebrations. Benjamin Britten, sailing uncomfortably close to the wind with his new opera, Death in Venice, seeks advice from his former collaborator and friend, W H Auden. During this imagined meeting, their first for twenty-five years, they are observed and interrupted by, amongst others, their future biographer and a young man from the local bus station. Alan Bennett’s play is as much about the theatre as it is about poetry or music. It looks at the unsettling desires of two difficult men, and at the ethics of biography. It reflects on growing old, on creativity and inspiration, and on persisting when all passion’s spent: ultimately, on the habit of art.

Roberto Bolle smuggles himself as a stowaway on an ocean liner that of Hamburg gen New York sets sail. On board is also his lover Barbara Shadwell, whom he wants to marry, but who, at the request of her mother, the syrup millionaire Ceila Shadwell, should marry the oatmeal millionaire David.

As he prepares to embark on an overseas tour, star actor Garry Essendine’s colourful life is in danger of spiralling out of control. Engulfed by an escalating identity crisis as his many and various relationships compete for his attention, Garry’s few remaining days at home are a chaotic whirlwind of love, sex, panic and soul-searching.

Film follows Haide and Toomas, husband and wife in life and in art Piip and Tuut through the hard work of the creation of their new clown show in the Botanical Garden of Tallinn, showing the intensity and poetry behind their craft and focusing on their collaboration on stage and in life.

The ups and downs in the lives and careers of a group of ambitious young actresses and show girls from disparate backgrounds brought together in a theatrical hostel.

Chuck and Buck are childhood best friends whose lives have taken very different paths. While Chuck moved away and now has a real life, Buck stayed behind and developed a dangerous fixation—on Chuck's life.

Coco Baisos, a mature woman who likes to lead a big train, finds herself once again a widow, the fifth to be more precise. Bursting with energy and natural optimism, Coco is firmly determined not to be put down by fate. She immediately starts looking for a new companion, preferably a billionaire, so as not to have to give up her habits of luxury and pomp. She would indeed be very unhappy if fate forced her to modify her lifestyle. But the wallets trimmed do not run the streets. This manhunt, longer than expected, will hold many surprises for him ...

John Stonehouse (William Russell) checks into a hotel, intending to commit suicide. But instead he winds up helping a girl, Gilberte Bonheur (Fritzi Brunette), out of a jam. He finds her bending over a man who she has apparently killed, and since he's about to kill himself anyway, he offers to assume the blame. Throw a valuable emerald into the works, and the fact that the dead man suddenly comes back to life, and Stonehouse - not to mention the audience - becomes thoroughly befuddled by it all. Everything clears up, however, when Gilberte gives him a theater ticket - it turns out that everything he went through was the plot to a stage play, enacted in real life by the actors. The critics roasted the play, saying it wasn't true to life, and this was their proof that the situations really could happen. Gilberte retires from acting when Stonehouse proposes.