After a shooting in London goes hideously wrong, two hitmen, Ray and Ken, are sent to hide out in the strange, Gothic, medieval town of Bruges, Belgium, by their volatile and dangerous boss, Harry Waters. While awaiting instructions from him as to what to do next, the pair attempt to deal both with their feelings over the botched killing and their differing attitudes towards this curious, otherworldly place they've been dumped in ('Bruges is a shithole.' 'Bruges is not a shithole'), until the call from Harry finally comes through, and all three men are enmeshed in a spiral of bloody violence that few will get out of alive. This jet-black comedy marks the feature-film debut of writer/director Martin McDonagh, award-winning author of such plays as The Beauty Queen of Leenane, The Lieutenant of Inishmore and The Pillowman, and the film Six Shooter, which won the Academy Award for the Best Live-Action Short Film. The film stars Colin Farrell as Ray, Brendan Gleeson as Ken, and Ralph Fiennes as Harry. In Bruges was the opening night film at the Sundance Film Festival.

Wes Anderson startled audiences with his stop-motion animated film of Roald Dahl's Fantastic Mr Fox. He now displays his unique wit and playful visual sense in an action-filled saga of Samurai dogs.

'If you decide to adapt a classic or much-loved book, your working maxim should be, 'How will it work best as a film?' However faithful it is to the original, if it's not interesting onscreen then you've failed.' - William Boyd in Story and Character: Interviews with British Screenwriters Hollywood. Netflix. Amazon. BBC. Producers and audiences are hungrier than ever for stories, and a lot of those stories begin life as a book - but how exactly do you transfer a story from the page to the screen? Do adaptations use the same creative gears as original screenplays? Does a true story give a project more weight than a fictional one? Is it helpful to have the original author's input on the script? And how much pressure is the screenwriter under, knowing they won't be able to please everyone with the finished product? Alistair Owen puts all these questions and many more to some of the top names in screenwriting, including Hossein Amini (Drive), Jeremy Brock (The Last King of Scotland), Moira Buffini (Jane Eyre), Lucinda Coxon (The Danish Girl), Andrew Davies (War & Peace), Christopher Hampton (Atonement), David Hare (The Hours), Olivia Hetreed (Girl with a Pearl Earring), Nick Hornby (An Education), Deborah Moggach (Pride & Prejudice), David Nicholls (Patrick Melrose) and Sarah Phelps (And Then There Were None). Exploring fiction and nonfiction projects, contemporary and classic books, films and TV series, The Art of Screen Adaptation reveals the challenges and pleasures of reimagining stories for cinema and television, and provides a frank and fascinating masterclass with the writers who have done it - and have the awards and acclaim to show for it.

Immerse yourself in Julian Fellowes' multi-award-winning drama. The full scripts of Series Two include previously unseen dialogue and drama. Downton Abbey has become a national phenomenon and the most successful British drama of our time. Created by Oscar-winning writer Julian Fellowes, the two series have delighted viewers and reviewers alike with stellar performances, ravishing sets and costumes and a gripping plot. The second series of Downton Abbey opens in 1916 as the First World War rages across Europe. The Crawley family and their servants play their part on the front line and the home front, their lives intensified by the strain of war. Julian Fellowes succeeds in not only riveting his audience with cleverly woven storylines of love, loss and betrayal but also in delivering a social commentary of British life. The Series 2 scripts give readers the opportunity to read the work in more detail and study the characters, pace and themes in depth. With an introduction and commentary from Julian Fellowes, this is an invaluable insight into how he researched and crafted the world of Downton Abbey.

How to change fundamental reality by not thinking; an over-enthusiastic production of a play for Easter; getting lost on Dartmoor; the Health and Safety Officer of the afterlife; a dodgy group therapist; a steeplechase for saints and theologians; a Welsh football match; the Four Horsemen of the Apocalypse going AWOL.