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Comedy in five acts by Beaumarchais, filmed by Marcel Bluwal in studio and on location. The cast, in accordance with Marcel Bluwal's wishes, is in keeping with the age and character of the characters, to give it rhythm. At once "a comic baroque play, a bourgeois drama, a chansonnier's number, a social satire, a farce and a very pretty love story" according to Marcel Bluwal, it can also be summed up, according to Beaumarchais, as "the most bantering of intrigues".

On the eve of its demolition, Berta visits the old theater where her grandmother used to work. She finds out that it's not completely abandoned - Mortando Malone and Big Blue Cat, her old imaginary friends, are there to help her solve an impossible case: recapture her capacity to dream.

New York chorus girl Cindy Lou Bethany becomes frustrated when she prepares for an audition for a Broadway musical, but the auditions close and her roommate, Gwen Abbott, is hired to be secretary to Top Rumson, the show's financial backer. Gwen tells Cindy that the director, Lloyd Lloyd, and composer, Dick Rayburn, have been sent to the South on a talent search for a classic Southern belle type to star in the show, although their shows usually feature Myra Stanhope, an actress whose style is hopelessly inappropriate for this show. Desperate for work, Cindy returns to her aunt Lily Lou and uncle Jefferson Davis Bethany's home in the South and schemes to get Lloyd and Rayburn to audition her.

Helena loves the arrogant Bertram, and when she cures the King of France of his sickness, she claims Bertram as her reward. But her new husband, flying from Helena to join the wars, attaches two obstructive conditions to their marriage - conditions he is sure will never be met. Featuring Olivier-award winning actress Janie Dee as the Countess of Roussillon.

The fat knight Sir John Falstaff imagines that Mistress Ford and Mistress Page are both taken with him and so, attracted as much by their husbands’ money as their personal charms, he decides to woo them both. But the women are up to the old lecher’s tricks and turn the tables on him with a series of humiliating assignations, midnight terrors and a very damp, extremely smelly laundry basket. Gutsy, colloquial and bustling with vivid characters, The Merry Wives of Windsor is a brilliantly constructed farce and the only comedy Shakespeare set in his native land. It is also the ancestor of English bourgeois comedy and gave birth to a tradition that reaches down to the modern TV sitcom. The production made merry with the relationship between the life of middle-class Elizabethan England and the late medieval period in which the play is set.

When the King of Navarre and his three courtiers forswear all pleasure - particularly of the female variety - in favour of a life of study, the arrival of the Princess of France and her ladies plays havoc with their intentions. Using every kind of verbal gymnastics to poke fun, Shakespeare's most intellectual comedy is brought to hilarious life in this highly entaining production, rich in visual humour and sexual innuendo.

A feature-length documentary that delves into the life of an old spinster who, by convention, must be called señorita. Bound by rigid moral and family precepts, well-born ladies do not usually tell intimacies. However, the virgin - as the people of Xalapa have always called her - has agreed to confess and show her personal refuge, marked by solitude and the daily fulfillment of a sacrificial ritual.