A short film that explores gay male psychical intimacy, with some explicit nudity scenes. Matt, a gay man in his late twenties, navigates the lonely intersection of carnal sex and human closeness. With the arrival of Luke, a new man in his life, he finds a way to reconcile pleasures of the flesh with the new aroused imperatives of the heart.

Matthew Bourne choreographs this version of Tchaikovsky's ballet performed at Sadler's Wells Theatre. Bourne sets the first part of the story in 1890, the year in which Tchaikovsky completed his version of Charles Perrault's classic fairy tale, with Beauty pricking herself on the poisoned rose in 1911 and awakening 100 years later in the contemporary world.

Boys On Film presents the tenth volume in the world's most successful short film series. All boundaries will be broken as Boys On Film X promises to take it further than ever before, showcasing eight of the most sexy, unique and brilliant new short films, including: Jacob Brown's "Blinders" starring Nathaniel Brown, Byrdie Bell, and Luke Worrall; Fabio Youniss's "A Stable For Disabled Horses" starring Daniel Swan and Daniel Simonsen; Antony Hickling and Amaury Grisel's "Little Gay Boy, ChrisT Is Dead" starring Gaëtan Vettier; Till Kleinert's "Boys Village" starring Benjamin Thorne and Andrew McQueen; Lukas Dhont's "Headlong" starring Jelle Florizoone and Thomas Coumans; Evan Roberts's "Yeah Kowalski!" starring Cameron Wofford and Conor Donnelly; William Feroldi's "Inflatable Swamp" starring Francis Beraud and Paul Huntley-Thomas; and Dominic Haxton's "Teens Like Phil" starring Adam Donovan and Jake Robbins.

Glyndebourne's Saul stole the summer and had critics raving. The Guardian (****) applauded virtuoso stagecraft from director Barrie Kosky in his debut production there, calling the show a theatrical and musical feast of energetic choruses, surreal choreography and gorgeous singing. For The Independent, which ranked it amongst five top classical and opera performances of 2015, there was no praise too high for the cast. The Orchestra of the Age of Enlightenment under Ivor Bolton sparkles from the pit with period panache, and designer Katrin Lea Tag's exuberant costumes (The Times ****) set the Old Testament story in Handel's time, with a witty twinge of the contemporary.

This new Christmas ballet film was conceived by Matthew Bourne and directed by his long standing film collaborator Ross MacGibbon. The film celebrates Bourne's power to imaginatively transform ballet, taking dance and dancers off the stage into studio, bringing together projections, animation, and an intimate shooting style to produce a distinctive new way of presenting dance on screen. Those who know Bourne's stage work will spot extracts from many of his biggest hits (including Swan Lake, Edward Scissorhands, and Nutcracker!), but for audiences less familiar with his work this is simply a journey through a series of magical worlds where stories are told through dance.

New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves.

In a castle high on a hill lives Edward; a boy created by an eccentric inventor. When his creator dies he is left alone and unfinished with only scissors for hands until a kindly townswoman invites him to live with her suburban family. Can Edward find his place in the well-meaning community which struggles to see past his curious appearance to the innocence and gentleness within?