Irene Marot

The everyday lives of working-class residents of Albert Square, a traditional Victorian square of terrace houses surrounding a park in the East End of London's Walford borough.

Drama series about life on the wards of Holby City Hospital, following the highs and lows of the staff and patients.

The wise-cracking Fitz is a brilliant but flawed criminal psychologist with a remarkable insight into the criminal mind.

The Chronicles of Narnia is a British television miniseries adapting four of C.S. Lewis's books, blending live-action with animation for fantasy elements like Aslan and the creatures. The first series—The Lion, the Witch and the Wardrobe—aired from 13 November to 18 December 1988; the second—Prince Caspian and The Voyage of the Dawn Treader—aired from 19 November to 24 December 1989; and the third—The Silver Chair—from 18 November to 23 December 1990. Each series consists of six episodes each.

Armed robbers Harry, Terry, and Joe die when the security van that they're robbing catches fire in the Kingsway Tunnel in London. Their widows–Dolly, Shirley, and Linda–find their husbands' schematics and decide to stage it themselves.

We all navigate in multiple social circles - friendships, family, work - and often these groups do not mix. Patterns takes this concept and creates a universe of characters and narratives who move between these circles and finds the comedy within. The series touches on a range of topical issues including, LGBTQ matters; family problems; conspiracy theories; and reality television.

An American Actress with a penchant for lying is forceably recruited by Mosad, the Israeli intelligence agency to trap a Palestinian bomber, by pretending to be the girlfriend of his dead brother.

Set up by their boss to be knocked off following a final heist, soon-to-retire crooks Brian Hope and Charlie McManus get wind of their impending demise and run off with the spoils of their crime. Fleeing their boss, the drug dealers they robbed, the police, and Brian's angry girlfriend, the duo take refuge in a training convent for nuns. In disguise, they convince Sister Superior that they're nuns, a charade they're forced to maintain as their enemies arrive.

The London branch of Whitney Paine, a major American investment bank, is in the midst of a crisis; after the loss of $100 million, one of their leading traders, Tony Eisner commits suicide by putting a slug through his head while seated at his place in the board room. Despite the high stakes, many of the firm's staff are eager to step into Tony's now-vacated shoes and get credit for saving the company. Daniel Pascoe, the leading trader at the firm, is convinced that he's first in line for the assignment, but the firm imports a new trader from America, Anna Schuman. Daniel is enraged and makes a point of trying to dig up as much dirt on Anna as he can, but things are going to take another turn.

Freelance journalist David Dunhill stumbles onto the biggest story of his career - but his personal eccentricities seem likely to thwart him.

When he was a little boy, Dillon's rock musician father and hippie mother died in a traffic accident. Now in his twenties, Dillon wants nothing more than a normal, responsible life, working in an office and taking care of the grandmother who raised him. But his grandmother has other ideas, and Dillon finds himself lured into an alternate lifestyle of art, pleasure and rebellion.

Four kids travel to the magical land of Narnia where they must battle an evil queen with the direction of the lion, Aslan.

Gavin is 31 years old and still lives with his parents. He is awfully shy but before he knows it there are three women interested in him. Lady Minerva Munday has a casual way of life and lives in a basement, Joan is an over-sexed millionairess, married to a Greek architect. But Gavin prefers the ugly assistant in the barbershop.

An old man remembers the troubled relationship he had with his mother, the erotic games, and the phantasms in which she managed to attract him. The main line gives but a small idea of the film, of its erotic style, its choreographic dimension, its strange fragmentation. The film drifts along an ever-renewed invention, intertwining lavish dances, mask games, musical comedy, parodies, permanent repression of the body offering itself as an object of desire to the viewer who is literally seduced.’