French farce set in the tumultuous three hours prior to the opening night performance of Macbeth features comic-timing perfection from cast

One of Matt Groening’s Life In Hell comic strips from the 1980s, entitled How to Be a Clever Film Critic, sets out cinema’s greatest paradox: “The French are funny. Sex is funny. And comedies are funny. Yet no French sex comedies are funny.” Well, this film from Bertrand Usclat and Martin Darondeau proves that all commonly held certitudes must be disproved at some point, because here’s a French comedy, albeit one that’s not all that preoccupied with sex, that is a hoot.

Set entirely in the Parisian institution of the title, this frothy farce unfolds over the three hours before the opening night curtain goes up on a production of Macbeth, which is being directed by actor turned metteur en scène Nina (Pauline Clément). A series of catastrophes make it an open question as to whether the show will actually go on, starting from the moment Nina arrives at the entrance without her staff pass and has to try to get past the officious security team. Naturally, that’s just the beginning, and Nina must contend with superstitious actors, adulterous actors shagging while they rehearse (saying their lines between thrusts), a stoned grande dame (Danièle Lebrun), missing actors (Lady Macbeth is stranded in Brest while shooting a TV show on the side) and actors who understand their roles less than the usher (Sefa Yeboah), who is watching from the sidelines. Meanwhile, if there’s a technical problem, the stage manager (Christian Hecq) will tell you in tedious detail why it can’t be fixed, the wardrobe mistress (Florence Viala) discusses her colleagues’ bodily imperfections and the minister of culture is coming that evening to see the show.

Prinz George, Zweiter der britischen Thronfolge, ist jetzt ein Teenager. Ein Blick in die Geschichte zeigt: Königskinder haben es in der Pubertät besonders schwer – und entwickeln manchmal erstaunliche Macken.

Sophie Fiennes’s thoughtful documentary follows director Declan Donnellan as he helps actors find their way through Macbeth’s lines

Documentary film-maker Sophie Fiennes returns with another palate-cleansingly meditative, unhurried and intelligent movie about artistic process; in this case, the process of acting – or to be more specific, rehearsing and workshopping ideas. Actors are shown developing approaches to Macbeth under the cool eye of Cheek by Jowl director Declan Donnellan.

This is the part of “acting” that the movie observes in detail; it doesn’t cover the other business of auditions, table reads, tech runs, dress runs and performing night after night. With its clear, daylit approach, it is comparable to Fiennes’s 2010 study of German artist Anselm Kiefer, Over Your Cities Grass Will Grow – but is very unlike Fiennes’s atypically hyperactive and flashier films about the movies, The Pervert’s Guide to Cinema and The Pervert’s Guide to Ideology, whose style is more driven by their unruly presenter, Slavoj Žižek.

Antony and Cleopatra? Exhausting. Lear? Magnificent but flawed. Hamlet? Limitless. For Shakespeare’s birthday, the Guardian’s former theatre critic ranks all the plays

***

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