You are now leaving to visit an external site.

This site may be governed by it's own
Terms & Conditions and Privacy Policy


A Sony Pictures Classics Release

Testament Of Youth

Based on the powerful best-selling memoir by Vera Brittain

Divided By War. United By Love.



Testament of Youth is a powerful story of love, war and remembrance, based on the First World War memoir by Vera Brittain, which has become the classic testimony of that war from a woman's point of view. A searing journey from youthful hopes and dreams to the edge of despair and back again, it's a film about young love, the futility of war and how to make sense of the darkest times.

An Interview With Mark Bostridge, Biographer of Vera Brittain

As the film's expert on Vera Brittain there is no one better placed to give us an insight into the woman behind the book Testament of Youth? Vera Brittain (b.1893 – d.1970) was brought up in Buxton in Derbyshire, as the daughter of a paper manufacturer. She had one younger brother, Edward and from an early age she wanted to be a writer. She also wanted the type of education that was difficult for a woman to get at that time, an education at a university. Just before the outbreak of the war, in 1914, she managed to get into Somerville College, Oxford and she went up to Oxford in October 1914, just a couple of months after the war had broken out. By the beginning of 1915, she'd fallen in love with a school friend of her brother Edward's and by the summer of that year, she decided that her university studies were increasingly irrelevant to what was going on in the world, and that she really had to do something for the war effort. She went off to become a VAD nurse, and in all, she served in some seven civilian and military hospitals throughout the war. She finally left hospital in 1919 after the war had ended and she suffered huge personal losses. What is remarkable about her story is not only that she went on to write about it so memorably, but that she rebuilt her life and really dedicated much of the rest of it to being a pacifist, to fighting the idea that society should ever go to war. What do you do as a consultant on the film? As a consultant, you're called upon to read the various drafts of the script, and say where you think they're not being true to the book or to the characters. Then on set, I was asked questions by the director, the screenwriter and sometimes the actors asked about their characters. Colin Morgan, I remember, was particularly keen to know more about Victor and his background. So, I asked Victor's niece if I could show Colin some letters that had been written by Victor that aren't published and that helped him a great deal. At what point did you become involved? BBC Films first made contact with me in 2008, because we had just finished making a documentary about Vera Brittain for the Remembrance Sunday season. One year later, Heyday Films joined the project. For Heyday's producer Rosie Alison, this was a real passion project and her determination drove the film pretty much all the way through. She fell in love with the story herself when she was a schoolgirl and really wanted to make it. There was an attempt to make a film version of the book in 1934, which fell apart. Explain how challenging it was for women to study at university at this time? Vera Brittain came from a well-off family and at the time it wasn't expected a woman should need to go to university unless she wanted to be a governess or a teacher in order to make a living. Vera was still quite a rarity in wanting to go to university. She could study and she could go to lectures, though she had to be chaperoned in order to go to those lectures in case she came into contact with male students. However, until after the First World War in 1920, women were not awarded degrees. They could only read their chosen subjects. Vera and her great friend, Winifred Holtby, were among the first women to receive degrees at Oxford. Why did you choose to make Vera Brittain the focus of your studies? I read Testament of Youth for the first time over thirty years ago and I've read a lot of books about the First World War since. No single book has ever had the impact on me that Testament of Youth did. It really moved me. I didn't know it at the time but my own grandmother had lost her husband and her brother within three months of each other at the Battle of the Somme. Coincidentally I had been at school with one of Vera Brittain's grandchildren and at university with another. There seemed to be a real connection with her. When I left university, I worked for Vera Brittain's daughter, Shirley Williams and that's really where my serious interest began. Do you think Vera would have approved of a film version of her life and loss? Absolutely. She would have approved of both our film and the TV series that was made in 1979. There are letters from Vera to friends to this effect. At that time the experiences of women during the First World War were still largely overlooked. When you think of the BBC's great landmark series, The Great War, which was first shown in 1964-65, in all 20 hours of footage only 10 minutes is devoted to women and their experience during the war. So why is it that Vera's story has stood the test of time? I think it unites lots of different universal elements. It has great drama and a terrific narrative plot line. It's a book about a woman's struggle to emancipate herself and get an education. It's a love story and it's a story about keeping faith with the dead. How do you go on living? How do you rebuild your life when you have lost so much? What do you think Vera's intention was when she wrote the book? Vera's intention was to educate and inform the world about how movements opposing war grew out of the experience of the First World War. Shortly after she left Oxford University in 1921 she began lecturing for the League of Nations Union, which was committed to an international policy. By the time Vera Brittain wrote Testament of Youth in the early 30's, the League of Nations was failing and Hitler had become Chancellor of Germany. She began to realise that ultimately the only thing that would stop war is for everybody to oppose the idea of war completely. Were you confident that the film could exist on those two levels as both a drama and a political message? I knew it would be a challenge but I'm absolutely amazed at the way Juliette Towhidi has boiled down a very complex and didactic book, yet retained its essence. That's one of the great things about the script. The book has had several resurgences of popularity since it was first published – what are the reasons for this? It has been an extraordinary process. She had been a best-selling author on both sides of the Atlantic, right up until the beginning of the Second World War, when her pacifist worldviews began to damage her book sales. When Virago republished Testament of Youth in 1978, it sent the book back into the Bestseller list again. That re-publication, along with the BBC television series in 1979 really established the book. But never the less it's taken 30 years to embed Testament of Youth in the canon of First World War literature. In my mind, what's extraordinary, eighty years on from its first publication is that it's the most powerful work of love, loss, and remembrance to emerge from the First World War. It took ten years after the end of the First World War before Vera began writing Testament of Youth – why do you think it took her so long? The actual experience of writing the book we now know as Testament Of Youth, (which she started writing in November 1929 and finished in the spring of 1933), was a searing one, not only because the process of remembering very painful things was obviously difficult to deal with, but also because she was trying to build a family and build a marriage at the same time. She was middle class and she could afford to employ people to look after her children, it was nevertheless a very stressful existence. When you read letters that she wrote, especially from 1931 to 1933 when the book was finished, she really is close to breakdown at times. It was so important to her that the book should succeed, not only because she wanted to be a writer but also because she wanted to immortalise the lives of those she had lost. Vera Brittain was both a mother and a successful author – how do you think she balanced the two? I think it's difficult for us to understand that for women of that generation who were committed to equality, like Vera Brittain, there was a sense that they had a right to have a career, to fulfil themselves and also to have a marriage and children. The fulfilment of being a writer was very important to Vera Brittain. One thing she says at the end of the war in 1918 is that the war had left her with nothing and the only thing that held her to life was ambition itself. What kind of a man was Roland Leighton? Despite having all his letters it is still very difficult to really understand what sort of man Roland was. We know he was obviously quiet, confident and self-assured and Vera said in Testament of Youth, ‘he may have been only 19, but he could easily have passed for 30.' Roland was a born writer and Vera Brittain recognised that bond between them. He came from a literary family and his father had been the literary editor of The Daily Mail while his mother was a flamboyant romantic novelist who was initially kind to Vera but later disapproved of her increasingly left-wing politics and feminism. Tell us a bit more about Edward? I think Edward was always the temperamental foil to Vera Brittain. He was quieter, he didn't flare up, and he didn't have her temperament. Therefore, he was quite an essential counter-balance within the Brittain family. Mr Brittain had a terrible temper and was a depressive. There were quite a lot of lively rousts in the family, and Edward was always sort of the mediating influence. Much later in life she says somewhere that its so extraordinary that such a quiet, withheld personality could've been so courageous in the war without really making much fuss about it. He had, of course, been extraordinarily courageous during the first Battle On The Somme when he'd gone over the top and then been caught in No Man's Land. He survived on water for a number of hours before attempting the crawl back. What can you tell us about Victor? Victor was undoubtedly less academically gifted than Roland and Edward, though he had a place at Cambridge where he was going to study medicine. I think he was a very dependable, caring person who'd been through quite a lot personally before the war started. In the early months of the war, Victor caught meningitis and almost died from that, but nevertheless was very keen to enlist and eventually went off to France. What's the trick to making the film work on both a political and a personal level? I think partly, it lies with the actress. Alicia is obviously very beautiful, and the camera loves her. What's interesting is that even when she's in repose an extraordinary flow of different emotions flood across her visage. That is mesmerizing to watch and draws you in. The thing about Alicia is she's incredibly intelligent and also interested in the visual setup and in the way the director is putting the scene together. Of course, the adaptation is also important and Juliette has cleverly conveyed the essence of the pacifist, or at least the anti-war message, in certain key scenes that aren't necessarily in the book. Finally, the director allows you to feel that you're not hearing an autographical voice, but perceiving an autobiographical voice. The film has a very strong point of view, which I think is essential in an adaptation of Testament of Youth, because ultimately, it's one woman's story. It's an autobiography. Do you get the sense that Shirley Williams is still keen for another story to be told to a wider audience? She is thrilled. I mentioned to her that the Twitter comments around the film show how this new generation is responding to the casting of these incredible young actors and how it will take her mother's reputation to a whole new level. It seems quite foreign to us now that a whole generation could join in a war effort so whole-heartedly – was it part of the breeding? It's important to remember that the four men in Vera Brittain's life belonged to a very precise class in society; they were young officer material and educated at public schools. A public school like Uppingham was extremely militaristic - probably the most militaristic of all the public schools. That kind of attitude, patriotism and desire to serve your country, to die if necessary was inculcated into them through their education. It's important to remember, however, that not everyone reacted as these men did. There's a myth that everybody rushed to the colours in August 1914 – they didn't. These young public school officers did, and their life expectancy could be as short as three weeks in the trenches. Can you explain the role of a VAD nurse? The VAD scheme, or the Voluntary Aid Detachment, had actually been established before the war following films of German invasion. The VAD nurses were generally drawn from the upper and middle classes. You didn't get many working class girls doing that job. It was intended to be a support system for the professional Queen Alexandra nurses. As time went on and conditions became more difficult, especially near the front, VADs were called upon to do more and more difficult and more extreme tasks like assisting in operations. What kind of work did Vera do when she was a VAD nurse and what would have been her daily regime? Vera began as a VAD nurse at the Devonshire Hospital in Buxton and then transferred to the first London General at Camberwell, which appears in the film. At first she was doing very simple tasks, such as cleaning the hospital, making sure the patients were comfortable and ensuring the bed linen was kept clean. As soon as the wounded began to arrive, more and more pressure was imposed on the young VADs, who had no formal training. Because of this, the professional nurses often regarded them with contempt as depicted in the film. It was a great shock for Vera when she goes to a military hospital to actually be responsible for giving a young man a bed bath. Given her restricted upbringing it was extraordinary for her to see a man naked for the first time. When she travelled to Etaples, she was very close to the front line and supplies were short so the pressure was even greater. One thing that is very true about Vera Brittain's character is that she was often extremely frightened, but she believed that the only way of dealing with that fear was to face up to it. She stayed in France during the worst times, even though she was scared stiff. In what way did this job contribute to shaping Vera's future ideology? The point that's so important about Vera's experience of France is that she is nursing German prisoners of war whilst her brother Edward, in a different part of the line, is trying to kill them. Vera is there, patching them up and trying to save their lives. That drove home the whole incomprehensibility of war contributing ultimately to the pacifist ideals that she would embrace after the war. What sort of themes in the film do you think will appeal to an audience? It's a great wartime love story, and I think that's what a lot of people will come to this film wanting to see. It is an extraordinary story of love and about keeping faith with the dead. But I think the message that Vera Brittain would want most people to take away from the film is the agony and destructiveness of modern warfare to the human race.

"A pre-feminist warrior who sees the bloody effects of war. Alicia Vikander is electrifying as this firebrand with a tough core of intelligence and wit. This is an actress you would willingly follow anywhere. Kit Harrington is excellent."
– Peter Travers, ROLLING STONE


Alicia Vikander

Alicia Vikander

Alicia Vikander is one of the most promising young actors of our generation. In 2011, Alicia won a prestigious Guldbagge Award (Sweden's version of the Oscars) for 'Best Actress in a Leading Role', for her performance as 'Katarina' in the 2010 Swedish drama PURE, which was Alicia's film debut. In 2012, Alicia was highlighted by the European Film Awards as one of their 'Shooting Stars' and in 2013, Alicia was nominated for a BAFTA in the 'Rising Star' category.

Since making her film debut in PURE, Alicia has garnered international recognition and has burst on to the international film scene, most noticeably with her role as 'Caroline Mathilde' in Nikolaj Arcel's critically acclaimed A ROYAL AFFAIR, opposite Mads Mikkelsen. The film was nominated for an Oscar in the 'Best Foreign Film' category.

2015 is set to be quite a year for Alicia. She will be seen in TESTAMENT OF YOUTH, the adaptation of Vera Brittain's memoirs, opposite Kit Harrington and directed by James Kent. The film has a June release in the US. Alicia was also seen in Julius Avery's SON OF A GUN and Universal/Legendary Pictures film THE SEVENTH SON, alongside Jeff Bridges and Julianne Moore.

Following this Alicia was seen in the lead female role opposite Oscar Isaac and Domhnall Gleeson in Alex Garland's directorial debut, EX MACHINA. The film released in the UK in January in the US in April.

This summer will see Alicia starring in Guy Ritchie's MAN FROM U.N.C.L.E opposite Armie Hammer and Henry Cavill. Based on the 1964 series of the same name, the story is set in the early 1960s, and follows CIA agents as they participate in a joint mission against a mysterious criminal organization.

Alicia recently finished filming the Working Title/Tom Hooper feature, THE DANISH GIRL in which she will star opposite Eddie Redmayne. Inspired by the true story of Danish artists 'Einar Wegener' and his wife 'Gerda', the film is set for release in the US in November and in the UK in January 2016.

At the end of 2014 Alicia wrapped on the Derek Cianfrance film, THE LIGHT BETWEEN OCEANS based on the M.L Stedman novel opposite Michael Fassbender. The film follows a lighthouse keeper and his wife living off the coast of Western Australia, who raises a baby they rescue from an adrift rowboat.

Alicia will also be seen starring in TULIP FEVER, a 17th century romance in which an artist falls for a married young woman while he's commissioned to paint her portrait. The film also stars Jack O'Connell, Dane DeHaan and Christoph Waltz and was directed by Justin Chadwick and produced by The Weinstein Company.

In 2013 Alicia was seen in THE FIFTH ESTATE directed by Bill Condon, in which she took the role of 'Anke' alongside Benedict Cumberbatch and Daniel Bruhl, about the formation of Wikileaks and the relationship between its founders Julian Assange and Daniel Domscheit-Berg. In October that year, Alicia starred in the Swedish film HOTELL, reuniting her with director Lisa Langseth. Alicia took the role of 'Erika', a young woman who has recently given birth to a brain damaged baby and attends group therapy where she meets other people suffering from various forms of trauma.

Other film credits include, Joe Wright's ANNA KARENINA. This saw her play the frivolous 'Kitty' alongside Keira Knightly and Jude Law. In 2011 Alicia took on the role of Fragancia Fernandez in Ella Lemhagen's THE CROWN JEWELS which also appeared in side competition in Berlin.

Kit Harington

Kit Harington

Born in Worcester, Kit Harington studied drama and theatre at the Central School of Speech & Drama, a constituent of the University of London. Even before graduating in 2008, he won the lead role of Albert in the Royal National Theatre's London production of the smash hit "War Horse." The production transferred to London's West End at the New London Theatre, and he stayed with the role until 2009 after which he appeared in "Posh," by Laura Wade, at the Royal Court Theatre in London.

Harington stars as Jon Snow, the bastard son of Eddard Star and Lord Commander of the Night's Watch in HBO's Emmy and Golden Globe nominated drama "Game Of Thrones," which returned for its fifth season in 2015.

His most recent film projects include the World War I drama "Testament of Youth" which premiered to critically acclaimed reviews at the London Film Festival and has been set for June 2015 release by Sony Pictures Classics.

Additionally, Harington can be seen this summer in the HBO sports mockumentary "7 Days in Hell" in which he costars with Andy Samberg as fierce tennis rivals in an epic, seven-day match at 2004 Wimbledon.

Harington most recently starred in the big-screen adaptation of the hit British spy series, "Spooks: The Greater Good," out in May 2015.

Other film credits include, Paul W.S. Anderson's, "Pompeii." He also lent his voice to the Golden Globes winner and Oscar nominated DreamWorks' animated film, "How To Train Your Dragon 2."

Taron Egerton

Taron Egerton

Having graduating from RADA in 2012, Taron Egerton's first role was on stage in The Last of the Haussmans at the National Theatre, opposite Julie Walters and Helen McCrory. Taron was cast as Dennis 'Asbo' Severs in Sky's well-reviewed drama The Smoke. He then landed the lead role of Eggsy in Matthew Vaughn's Kingsman: The Secret Service opposite Colin Firth, Michael Caine and Samuel L Jackson. Named on the Screen Internationals 'Stars of Tomorrow' list for 2014, his next role was that of Edward Brittain in Testament of Youth, alongside Kit Harrington, Alicia Vikander and Colin Morgan; for this part Taron was nominated for the Rising Star Award at the BFF London Film Festival. At the end of last year he completed filming opposite Tom Hardy on Legend, a biopic feature about the Kray twins, out in September. Taron has just finished filming the title role of Eddie the Eagle, opposite Hugh Jackman which is due for release Spring 2016.

Emily Watson

Emily Watson

Emily Watson is one of the industry's most acclaimed actresses on stage and screen. Emily first came to the attention of the film world with her memorable performance in Lars von Trier's Breaking the Waves. Emily received Academy Award, Golden Globe Award, and BAFTA Award nominations; won the New York Film Critics Circle award, National Society of Film Critics award, and the Felix Award for Best Actress; and was named British Newcomer of the Year at the London Critics Circle Film Awards. Breaking the Waves was Emily's first film.

Emily was again nominated in the Best Actress category at the Academy Awards, Golden Globe Awards, and BAFTA Awards, and at the Screen Actors Guild Awards, for her portrayal of real-life classical cellist Jacqueline du Pré in Hilary and Jackie, starring opposite Rachel Griffiths and directed by Anand Tucker. The performance also earned her the British Independent Film Award (BIFA) for Best Actress.

Her other films include Philip Saville's Metroland, opposite Christian Bale; Jim Sheridan's The Boxer; Tim Robbins' Cradle Will Rock; Alan Parker's Angela's Ashes; Alan Rudolph's Trixie; Paul Thomas Anderson's Punch-Drunk Love; Brett Ratner's Red Dragon; John Hillcoat's The Proposition; Richard E. Grant's Wah-Wah; Tim Burton and Mike Johnson's Corpse Bride, in voiceover; Julian Fellowes' Separate Lies, with Tom Wilkinson; Charlie Kaufman's Synecdoche, New York; Sophie Barthes' Cold Souls; Jim Loach's Oranges and Sunshine, for which she was an Australian Film Institute Award nominee and a Film Critics Circle of Australia Award winner as Best Actress; Steven Spielberg's War Horse; Joe Wright's Anna Karenina, Some Girl(s), adapted by Neil LaBute from his play and directed by Daisy von Scherler Mayer; Brian Percival's The Book Thief; Ama Asante's Belle; and Robert Altman's Gosford Park, for which she won a Screen Actors Guild Award as part of the ensemble honoured with the top prize of Outstanding Performance by a Cast in a Motion Picture.

Emily was again recently a Screen Actors Guild Award and Golden Globe Award nominee, for her performance opposite Dominic West in the miniseries Appropriate Adult. Her portrayal of Janet Leach in the real-life tale also earned Emily a BAFTA Award.

2015 will see Emily in multiple new projects on the screen, with the release of A Royal Night Out this May. Emily leads the cast in A Song For Jenny, a TV movie based on a book written by Julie Nicholson whose daughter tragically died during the 7/7 attacks in London. It's a one-off factual drama adapted by playwright Frank McGuiness and due to TX on the BBC in early July.

The Dresser co-starring Sir Ian Mckellen and Anthony Hopkins is another TV movie also due for release on the BBC this year. The Dresser is based on a play that at its heart is about the relationship between an aging actor and his personal assistant. Finally, Emily recently completed filming Universal Pictures Project Everest co-starring Jake Gyllenhaal, Robin Wright and Keira Knightly. The drama tells the true story of the 1996 Mount Everest disaster, and non-fiction novel 'Into Thin Air' by John Krakauer, in which a climbing expedition was devastated by a snowstorm and several climbers were killed.

Emily is also a veteran of the London stage, with theatre credits that include Three Sisters, The Lady from the Sea, and The Children's Hour at the Royal National Theatre. She has worked extensively with the Royal Shakespeare Company, in such productions as Jovial Crew, The Taming of the Shrew, All's Well That Ends Well, and The Changeling. In the fall of 2002, she starred at the Donmar Warehouse in two shows concurrently, Uncle Vanya and Twelfth Night, both directed by Sam Mendes. These critically lauded productions also were staged at the Brooklyn Academy of Music in New York City.

Hayley Atwell

Hayley Atwell

Hayley Atwell will soon be reprising her role in Marvel's AGENT CARTER, which has been renewed for its second season. She recently appeared in Kenneth Branagh's CINDERELLA, AVENGERS: AGE OF ULTRON, and JIMI: ALL IS BY MY SIDE. Her numerous screen credits include THE DUCHESS, BRIDESHEAD REVISITED, I, ANNA, and THE SWEENEY. On television, she has appeared in THE LINE OF BEAUTY, THE PRISONER, ANY HUMAN HEART, RUBY IN THE SMOKE, FEAR OF FANNY and RESTLESS. She is also well-know as an accomplished stage actress, appearing in THE FAITH MACHINE at the Royal Court, MAJOR BARBARA at the National Theatre, and A VIEW FROM THE BRIDGE which earned her a nomination in the 'Best Supporting Actress' category at the 2009 Olivier Awards. She starred most recently in Alexi Kaye Campbell's Olivier Award winning play THE PRIDE.

Colin Morgan

Colin Morgan

Colin Morgan is an accomplished actor of stage and screen. Past on-screen credits include BBC's MERLIN, BBC's THE FALL, BBC's DOCTOR WHO, and Sony Pictures Classics' TESTAMENT OF YOUTH. His next projects include LEGEND, directed by Brian Helgeland and costarring Tom Hardy, and HUMANS, airing on AMC/ C4 this year. On stage, Colin made his professional debut in the title role of Vernon in the Young Vic Theatre's production of VERNON GOD LITTLE. He's also appeared in the Globe Theatre's production of THE TEMPEST as Ariel, the Royal Court Theatre's production of OUR PRIVATE LIFE as Carlos and the Young Vic Theatre's production of A PRAYER FOR MY DAUGHTER as Jimmy. In 2013, Colin won the National Television Award for Best Drama Performance Male, for his portrayal of Merlin.

Joanna Scanlan

Joanna Scanlan

Joanna Scanlan is fast becoming one of Britain's best known actresses. Seamlessly moving from TV to features she is carving out some of the best character roles out there. She recently completed filming on BAD EDUCATION with Jack Whitehall and TULIP FEVER alongside Tom Hollander. Her film credits include GET SANTA, THE TESTAMENT OF YOUTH, THE INVISIBLE WOMAN, IN THE LOOP, THE OTHER BOLEYN GIRL, STARDUST, NOTES ON A SCANDAL and GIRL WITH A PEARL EARRING. Her TV credits include MAPP & LUCIA, REV, GETTING ON, THE THICK OF IT and LITTLE BRITAIN and the upcoming FUNGUS THE BOGEYMAN. In 2010, she was BAFTA nominated for Best Female Performance for GETTING ON, which she starred in and co-wrote. HBO later picked up the show to be remade for US audiences.

Joanna is currently wowing audiences in Channel 4's hit show NO OFFENCE playing the lead detective Viv Deering.

Dominic West

Dominic West

Dominic West has successfully combined a career in both the UK and the U.S., with leading roles in international film, American television and on the London stage. After graduating from Trinity College Dublin and then from the Guildhall School of Music and Drama in London, West won the Ian Charleson award for Best Newcomer for his performance in Sir Peter Hall's production of "The Seagull."

A very successful film career soon followed with West winning leading roles in studio movies including "28 Days" opposite Sandra Bullock; "Mona Lisa's Smile," with Julia Roberts; and "The Forgotten," with Julianne Moore. He also starred as Theron in Warner Bros.' "300." Further credits include "Chicago," "A Midsummer Night's Dream," "True Blue," "Hannibal Rising," "Rock Star," "The Phantom Menace," "Surviving Picasso" and "Richard III."

In 2000, he won the role of McNulty in HBO's "The Wire," one of the most critically acclaimed television programs ever made in the U.S. The show ran for five seasons, with West directing an episode in the final season.

His theatre credits include Peter Gill's production of Harley Granville Barker's "The Voysey Inheritance" at the Royal National Theatre; David Lan's West End production of "As You Like It," in which he starred opposite Helen McCrory; and Trevor Nunn's West End production of Tom Stoppard's most recent play, "Rock N' Roll," which opened to huge plaudits at The Royal Court Theatre in summer 2006.

In 2008 he played Oliver Cromwell in Channel 4's BAFTA-nominated television series "The Devil's Whore." He then went on to do Pedro Calderon de la Barca's "Life Is a Dream" at the Donmar Warehouse in London, followed by "Centurion" directed by Neil Marshall and also starring Micahel Fassbender.

Dominic starred in the 2011 film "The Awakening," the box office hit "Johnny English Reborn" and ITV's critically acclaimed mini-series "Appropriate Adult" for which he won a TV BAFTA in May of 2012 year as well as "The Hour" by Abi Morgan for which Dominic was nominated for a Golden Globe. On the stage in 2011 West captivated audiences as the title role in "Butley" at the Duchess Theatre as well as sharing the stage with his "Wire" co-star Clarke Peters in "Othello" at the Crucible Theatre in Sheffield.

2012 saw Dominic reprise his role as Hector Madden in the second season of "The Hour" and he starred in the new Jez Butterworth play at The Royal Court, "The River" which opened in October 2012.

In 2013 Dominic returned to Sheffield to appear in "My Fair Lady" at The Crucible. He then went on to film as Richard Burton in a BBC4 drama, starring opposite Helena Bonham Carter as Elizabeth Taylor. 2014 saw the release of Matthew Warchus' "Pride", which opened at the Cannes Film Festival to critical and audience acclaim, and "Testament of Youth" alongside Alicia Vikander. He also appeared in the Golden Globe Winning US series "The Affair" alongside Ruth Wilson, Maura Tearney and Joshua Jackson, which he reprises this summer. Dominic has recently completed filming on the feature film MONEY MONSTER directed by Jodie Foster, in which he stars alongside George Clooney, Julia Roberts and Jack O'Connell.

Miranda Richardson

Miranda Richardson

Two time Academy Award nominated, Golden Globe and BAFTA winning British actress, Miranda Richardson delivered decades of stellar performances on stage and screen, becoming one of the most respected international actresses of the late 20th century and early 21st century. She has earned Academy Award nominations for Louis Malle's "Damage" and the biopic of writer T.S. Eliot "Tom & Viv." She has been in many of the Harry Potter films. Richardson was a member of the stock company of Towan Atkinson's eccentric "Blackadder" series, but equally at home at the center of character dramas like "The Hours." An intelligent, intuitive actress unafraid of exploring emotional extremes, Richardson continues to be screen siren and one of the top talents in the world.

She was honored with a Golden Globe Award for the art house hit and also earned critical accolades for two other features that same year: Neil Jordan's "The Crying Game," in which she played a tough as nails IRA member and "Damage," in which Louis Malle tapped her to play the wife of a politician who has an affair with their son's girlfriend.

On the London stage, she starred opposite Mike Nichols (in a rare acting role) in Wallace Shawn's "The Designated Mourner," which was filmed and received a limited theatrical release. Adopting another flawless American accent, Richardson enjoyed a supporting role in Robert Duvall's "The Apostle" as a love intrest of Duvall's wayward Pentecostal minister and for her work, earned a nomination as Best Supporting Female from the Independent Spirit Awards.

She starred in Tim Burton's lavish reworking of "Sleepy Hollow." She then lent her distinctive vocal talents to the blockbuster animated feature "Chicken Run." For "Spider" with Ralph Fiennes, Richardson earned London and San Francisco Film Critics awards for playing the mother of a schizophrenic. In "The Hours" she portrayed the sister of author Virginia Woolf and member of an exceedingly complicated family. She co-starred as the Duchess Of Kent in "The Young Victoria" starring Emily Blunt and Jim Broadbent.

She recently starred in the AMC series "Rubicon." She is universally recognized for her roles in "Harry Potter And The Goblet Of Fire, "Harry Potter And The Deathly Hallows – Part 1," and "Harry Potter And The Deathly Hallows – Part 2."

– Guy Lodge, VARIETY.COM


James Kent


James Kent began as a documentary director, and won a BAFTA in 2004 for his 90-minute TV Single HOLOCAUST: A MUSIC MEMORIAL FILM FROM AUSCHWITZ. He went on to direct a number of acclaimed television dramas including THE SECRET DIARIES OF MISS ANNE LISTER in 2009, which was made for television but became a hit on the film festival circuit for gay and lesbian films, winning a number of awards. He also directed the acclaimed thriller INSIDE MEN for the BBC and THE WHITE QUEEN, a flagship BBC historical drama series for which James was the lead director, and THE THIRTEENTH TALE (starring Vanessa Redgrave and Olivia Colman) for BBC and Heyday Films. TESTAMENT OF YOUTH is his first feature film.

Juliette Towhidi


Juliette Towhidi wrote the 2003 hit comedy, CALENDAR GIRLS, which was nominated for a BIFA for Best Screenplay. She has also adapted DEATH COMES TO PEMBERLEY from the P.D. James' novel of the same name for Origin Pictures and the BBC, and the romantic comedy LOVE, ROSIE which will be released by Lionsgate this autumn.

David Heyman


David Heyman is the producer behind all of the film adaptations of J.K Rowling's hugely successful HARRY POTTER books. Heyman's producing credits also include the Robert Carlyle/Guy Pearce film RAVENOUS (directed by Antonia Bird), hit science-fiction thriller I AM LEGEND (directed by Francis Lawrence and starring Will Smith), THE BOY IN THE STRIPED PYJAMAS (directed by Mark Herman), YES MAN (directed by Peyton Reed, with Jim Carrey starring), and IS ANYBODY THERE? (directed by John Crowley and starring Michael Caine). Most recently, Heyman produced Alfonso Cuarón's GRAVITY, which received numerous Baftas and Oscars including Best Picture (Bafta) and Best Director (Oscar) as well as PADDINGTON (written and directed by Paul King). He is currently in production on THE LIGHT BETWEEN OCEANS (written and directed by Derek Cianfrance).

Rosie Alison


Rosie Alison was a documentary producer/director for ten years, working on many television films about writers, dancers, actors and playwrights. Her documentary credits include The South Bank Show, Omnibus, Bookmark, and Grand Designs. In 2001 Alison joined David Heyman's production company Heyday Films, where she has been Co-Producer of THE BOY IN THE STRIPED PYJAMAS (directed by Mark Herman), IS ANYBODY THERE? (directed by John Crowley, starring Michael Caine), and David Hare's BBC TV spy thriller PAGE EIGHT. Most recently, she has been Executive Producer on PADDINGTON (written and directed by Paul King) on the BBC TV movie THE THIRTEENTH TALE (adapted by Christopher Hampton, directed by James Kent), and on the forthcoming THE LIGHT BETWEEN OCEANS (written and directed by Derek Cianfrance.) Alison is also the author of a novel, The Very Thought of You, which was shortlisted for the Orange Prize in 2010.

Celia Duval


Celia Duval has recently produced the final two films in David Hare's Worricker Trilogy for the BBC – SALTING THE BATTLEFIELD, and TURKS AND CAICOS. As a Co-Producer or Line Producer, she has worked on many prestige films and dramas, such as THE LONG WAY TO FINCHLEY, CHRISTOPHER AND HIS FRIENDS, RED RIDING, MARGOT, WUTHERING HEIGHTS, and PAGE EIGHT.

Richard Mansell

Executive Producer

After a decade working with Jeremy Thomas on structuring independent films at Hanway, Richard Mansell has become an independent producer. Recent work includes coordinating all the partners and financing on POSH.

Executive Producers

Christine Langan and Joe Oppenheimer

(for BBC Films)

Zygi Kamasa

(for Lionsgate UK)

Hugo Heppell

(for Screen Yorkshire)

"Striking an elegantly sustained balance between intimacy and historical scope. Kit Harington is a revelation here."

"Skillfully acted, exquisitely photographed and genuinely touching. One of those rare film experiences that is just about perfect. Don't miss it."




  • Peter Travers ROLLING STONE

    "A pre-feminist warrior who sees the bloody effects of war. Alicia Vikander is electrifying as this firebrand with a tough core of intelligence and wit. This is an actress you would willingly follow anywhere. Kit Harrington is excellent."

  • Guy Lodge VARIETY

    "Pure movie romance. Director James Kent presents the female experience of war with crisp, tactile practicality. Alicia Vikander is an actress capable both of fluttery mystique and diamond-hard conviction."


    "Striking an elegantly sustained balance between intimacy and historical scope. Kit Harington is a revelation here."

  • Dennis Dermody PAPER MAGAZINE

    "A lushly romantic film. Alicia Vikander captures the strong, beautiful spirit of Vera, and Kit Harington is just the right mix of brooding and beautiful to fuel the bittersweet sentiment."

  • Rex Reed NY OBSERVER

    "Skillfully acted, exquisitely photographed and genuinely touching. One of those rare film experiences that is just about perfect. Don't miss it."