Ser o no ser

Warsaw, August 1939. The Tura couple’s theater company moves into a theater to rehearse Gestapo! a play that satirizes the global threat posed by Hitler and Nazism. At the same time, they represent Hamlet, whose verse “to be or not to be” will be the key to an extramarital affair. But problems will multiply in all areas: the Polish authorities forbid the release of Gestapo! to avoid Hitler’s reprisals, which will not prevent Germany from invading Poland.

With the theater half-destroyed by the bombings as the center of operations, the actors of the Company will have to devise a double theatrical plot, of wardrobe and impersonation, to defuse the delivery of a document that would put an end to the Resistance and to flee from Poland to England, land of Shakespeare. This means that they are the ones who, in an interpretative display, pretend to be Nazis. In the midst of this vicissitude, the Turas will have to deal with the arrival in their marriage of a young aviator of the R.A.F., who has turned their married life into a vaudeville: even more theater.