
Anna Theodora Chancellor (born 27 April 1965) is an English actress who has appeared widely on TV, film and in the theatre. She received a nomination for BAFTA TV Award for Best Supporting Actress for her role as Lix Storm in The Hour (2011–2012), and has twice been nominated for Olivier Awards, in 1997 for her performances in Stanley at the National Theatre, and again in 2014 for Private Lives at...
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Rob's lived with obsessive-compulsive disorder since he was a kid, and it's worn him down to the bone. He turns to a support group to reach out to others in similar situations.

In Brighton on the South coast of England, sharpened by the sting of sea spray, and mellowed by numinous light, a tight-knit community of oddballs and heart-felts live together in a tatty old mansion, the Fletcher Apartments. When a golden feather, the priceless antique mascot of the building, unexpectedly disappears, the residents have a mystery to solve. Will they find the talisman that previously bound them together, or will their community, now divided against itself, irrevocably unravel?

It’s the swinging (16)60s, and ‘the merry monarch’ Charles II is on the throne. After violent civil war, England’s theatres have finally reopened and, for the first time, women are allowed to perform in public. In the West End, grande dame Mrs Betterton (Anna Chancellor) rules the roost. But there’s a new face in town: an orange-seller with dreams of stardom. From dressing-room camaraderie to bitter rivalry, April De Angelis’ gloriously exuberant, bawdily funny and deeply poignant play celebrates five women grabbing this newfound freedom and making their way in an unfamiliar world. But at what price?

Haunted by memories of her broken marriage and a fight with her daughter, a woman joins an intense self-help retreat when her vacation goes awry.

A 1950s London cleaning lady falls in love with an haute couture dress by Christian Dior and decides to gamble everything for the sake of this folly.

Before Alice went to Wonderland, and before Peter became Pan, they were brother and sister. When their eldest brother dies in a tragic accident, they each seek to save their parents from their downward spirals of despair until finally they are forced to choose between home and imagination, setting the stage for their iconic journeys into Wonderland and Neverland.

What started off as a whirlwind romance takes an unexpected turn when Mark discovers his beautiful bride-to-be is plotting against him. In cahoots with an old school buddy, they hatch a plan to take half of Mark’s £20 million fortune and use it for their own happy ending. What they don’t realize is that Mark is one step ahead of them.

You’re invited to the wedding of the year, as the original cast of Four Weddings and a Funeral reunite in this one-off sequel. Twenty-five years after the events of Four Weddings and a Funeral (1994), Charles, Carrie, Fiona, Tom, David, Matthew, Bernard, Lydia and Father Gerald are back in church. But whose wedding is it - and will there be any more familiar faces?

Benjamin, a rising star filmmaker, is on the brink of premiering his difficult second film No Self at the London Film Festival when Billie, his hard drinking publicist, introduces him to a mesmeric French musician called Noah.

A star-studded BBC film of Oscar Wilde’s glittering and controversial career before his trial for homosexual crimes and tragic fall from grace. Highlights from Oscar’s brilliant comedies such as The Importance of Being Earnest and stories such as The Picture of Dorian Gray and The Canterville Ghost are adapted and performed by a cast including Freddie Fox, Claire Skinner, Anna Chancellor and James Fleet. Wilde enthusiasts and experts, including Stephen Fry, Wilde’s grandson Merlin Holland and his latest biographers, provide revelatory accounts of how his own life informed his work. His Irish roots, his early career, his marriage and the importance of women as well as men in his life all combine in a complex and compelling characterisation and celebration that adds flesh to the bones of a man who is too often caricatured.
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