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Some stories feel like they are set in a pressure cooker, and Anna Brenner’s The Karamazovs bolts the lid on tight from the first frame. We are dropped into a bleak, wintery scene at an isolated oceanfront home, a setting so cold it feels like it seeps through the screen. This is the dying ground of Fyodor, a patriarch whose spite is the only thing keeping him warm.

His impending death has summoned his three estranged children, each carrying their own baggage. There is the scheming Dmitri, a brother desperate for inheritance money to solve his problems. He is joined by his sisters: Viv, a disillusioned activist filmmaker, and Aly, who seeks peace within her religion.

Dmitri’s demand for cash is the lit match thrown into a room filled with emotional gasoline. The resulting fire is inevitable, but when it culminates in Fyodor’s murder, the film shifts...

Exclusive: Bedlam, the small, critically acclaimed Off Broadway theater company known for its clever, spare and unconventional stagings of classics like The Crucible and Saint Joan, is developing Bedlam: The Series, an eight-episode New Media mash-up of Shakespeare plays using the Bard’s own language.

The series, to be released on an as-yet-unannounced platform, begins filming this month in New York City and New York’s Hudson Valley.

Written by Bedlam artistic director Eric Tucker and Musa Gurnis and directed by Tucker, the series will combine characters and plots from King Lear, The Merry Wives of Windsor, The Merchant of Venice and other plays in an all-new story.

“As a theatre company, most immediately, we need to adapt to our current situation and find ways of staying alive,” Tucker said, “creating content that serves our mission and vision, while assuring the well-being and livelihood of our regular artists and staff.