In the late 1960s, renowned filmmaker Stanley Kubrick is consumed by his ambition to create a cinematic masterpiece about Napoleon Bonaparte. The screenplay opens with a vivid depiction of Kubrick exiting a cinema, where he is met with both adoration and disdain from the crowd, reflecting the polarizing nature of his work. As he embarks on the pre-production of his ambitious project, he faces mounting pressure from MGM executives, particularly Kent Hamlin, who is frustrated by the lack of progress and the spiraling budget. Despite the chaos, Kubrick remains steadfast in his vision, believing that the details of Napoleon's life must be meticulously researched to create an authentic portrayal.

Kubrick's research assistant, Bob Gaffney, supports him through the tumultuous process, but even he begins to feel the strain of Kubrick's obsessive perfectionism. As the film's production costs escalate, Kubrick's obsession with historical accuracy leads him to acquire everything from 18th-century fabrics to dirt from Napoleon's battlefields. His relentless pursuit of authenticity alienates him from the studio, and he faces the threat of losing the project altogether when Sergei Bondarchuk's competing film, "Waterloo," is announced.

As Kubrick grapples with the looming competition, he finds himself haunted by the ghost of Napoleon, who appears to him in various forms, challenging his understanding of ambition, power, and failure. Their conversations reveal Kubrick's inner turmoil as he questions his own motivations and the nature of his art. The film oscillates between Kubrick's reality and his imaginative dialogues with Napoleon, creating a surreal exploration of the director's psyche.

The tension escalates when Kubrick receives news that MGM has pulled funding for his project, leaving him devastated. In a moment of desperation, he decides to attend the premiere of Bondarchuk's "Waterloo" to gauge the public's reaction. The film is met with mixed reviews, and as Kubrick watches, he realizes that his own vision for Napoleon is at risk of being overshadowed by the competition. The emotional weight of the moment culminates in a confrontation with his own insecurities, as he reflects on the sacrifices he has made for his art.

In the aftermath of the premiere, Kubrick returns home to his supportive wife, Christiane, who encourages him to embrace his creative instincts rather than succumb to the pressures of the industry. Their relationship serves as a grounding force amidst the chaos of Kubrick's professional life. As he begins to rewrite his script, he finds renewed inspiration, channeling his frustrations into a more personal narrative that captures the essence of Napoleon's character.

Ultimately, Kubrick's journey is one of self-discovery and resilience. He learns to balance his artistic ambitions with the realities of filmmaking, and while his Napoleon project may never come to fruition, the experience shapes him as a director and as a person. The film concludes with a sense of hope, as Kubrick embraces the future, ready to tackle new challenges with the lessons learned from his obsession with Napoleon.

• In 1968, Stanley Kubrick exits an opulent cinema to a mixed crowd, reflecting his polarizing reputation. As chaos erupts with crowd members wielding 18th-century weapons, the scene shifts to Kent Hamlin's office at MGM Studios. There, Hamlin confronts Kubrick about the disarray of his 'Napoleon' pre-production, expressing frustration over budget issues. Kubrick passionately defends his meticulous filmmaking approach, ultimately demanding the destruction of the '2001' sets to maintain his artistic vision, leaving Hamlin stunned and conceding to his authority.
• In the MGM Elstree studio, Stanley and Bob engage in a lively discussion about filmmaking, blending nostalgia with humor as they reminisce about past experiences. Their interaction is light-hearted until they encounter the iconic monolith from Stanley's film, prompting deeper reflections. However, the mood shifts when Stanley is confronted by a vision of Napoleon Bonaparte, reminding him of the pressing demands of his work and the need to balance reflection with creativity.
• In Stanley's study, Napoleon grapples with his legacy and the negative portrayal of his character in history. As Stanley, a probing writer, challenges him to confront his greatest failure beyond Waterloo, a tense dialogue ensues, revealing Napoleon's defensiveness and reluctance to accept responsibility. The conflict remains unresolved, prompting Stanley to decide to seek further insight from Professor Felix Markham, leaving Napoleon to reflect alone amidst the books that chronicle his life.
• In the Kubrick kitchen, Christiane prepares Bubble and Squeak while Stanley surprises her with a Polaroid camera, capturing a humorous moment. Their playful banter shifts to tension as Stanley reads a letter revealing a competing film by Sergei Bondarchuk, exposing his insecurities as a filmmaker. Christiane reassures him of his unique talent, blending light-heartedness with serious contemplation. The scene concludes with Christiane teasing Stanley about his stress, maintaining their affectionate connection.
• Stanley Kubrick screens 'The Wizard of Oz' for his family, despite his daughter's teasing about his dislike for the film. The family enjoys a cozy moment with popcorn, and after the movie, Stanley and Christiane carry their sleeping daughters to bed. In their bedroom, playful interactions lead to a romantic encounter, as Christiane gently pulls Stanley away from his thoughts about his film project on Napoleon, culminating in a passionate kiss.
• In the Kubrick kitchen, Bob cheerfully prepares breakfast while the children play and take Polaroid pictures. Christiane joins in, and they share light-hearted banter about Stanley's sleeping habits and their new life in the UK. As Bob packs lunchboxes, they discuss Christiane's artistic work and the idea of being documented like Stanley's films. The scene is filled with warmth, laughter, and a sense of familial comfort, culminating in a shared acknowledgment of Stanley's greatness.
• In the morning, Bob organizes Napoleon books in Stanley's study and reflects on his workload before moving to the business barn office. There, he humorously pretends to struggle with his heavy bag and interacts with research assistants. Andros excitedly shares news about John Lennon wanting to meet regarding a potential Lord of the Rings film, while Bob assigns a task to the weary Brian. The scene captures a blend of lightheartedness and weariness as the characters navigate their demanding research environment.
• Stanley wakes up and reflects on his film ideas while showering. Afterward, he engages in a light-hearted conversation with Christiane, who is painting, teasing him about his disheveled appearance. Bob joins in, complimenting Christiane's work and humorously suggesting Stanley needs a wardrobe update. The scene showcases their camaraderie through playful banter, set against the backdrop of Christiane's vibrant artwork.
• In the backyard and office of the Kubrick estate, Stanley and Bob discuss the recent departure of two researchers, highlighting the emotional strain on their team. Stanley motivates the remaining researchers, urging them to take pride in their work despite the challenges. He then meets Emilio, his new driver, who shares his background as a race car driver and his interest in writing, adding a light-hearted moment to the scene.
• Emilio arrives at the Business Barn Office, where Bob explains the rigorous vetting process by Stan, reassuring Emilio about his experience. Meanwhile, at the Kubrick Estate Pool Area, Stanley grapples with stress over his film 'Napoleon,' while his wife Christiane encourages him to take a break for his well-being. Despite her support, Stanley remains fixated on his work, leading to an unresolved internal conflict. The scene contrasts the relaxed pool setting with Stanley's tension, culminating in a kiss between him and Christiane, symbolizing intimacy amidst the chaos, with Napoleon's boots ominously positioned between them.
• In the Kubrick estate's backyard during a lively 1969 party, Stanley Kubrick balances his intense research on Napoleon with the playful atmosphere around him. While guests, including Peter Sellers in a comedic Napoleon impersonation, engage in light-hearted banter, Stanley finds himself distracted by his notes and philosophical discussions. Despite moments of disconnect, he eventually shares humorous exchanges with guests like Connie and George, blending intellectual curiosity with the festive spirit.
• In the backyard of the Kubrick estate, a group of friends, including Stanley Kubrick, share light-hearted stories late into the night. Andrew humorously recounts a mishap from their trip to Versailles, but the mood shifts dramatically when he presents Stanley with a wrapped script for 'Waterloo,' revealing it was taken from a production team. This revelation leaves Stanley stunned and concerned about its implications for his own projects, prompting him to step away to process the news, while Andrew follows to offer support.
• In a tense and humorous night scene outside the Kubrick estate, Stanley, Andrew, and Napoleon engage over Napoleon's ring, which Andrew has acquired but cannot remove from his finger. As Stanley expresses excitement and attempts to help, he inadvertently causes Andrew pain, leading to frustration. The scene concludes with Stanley fixating on the ring with an intense, almost obsessive interest.
• In the garage-turned-editing suite of the Kubrick estate, Andrew nervously asks Stanley for a lubricant for a ring. As Stanley searches for tools, he reveals his passion for filmmaking but escalates the tension by brandishing garden shears, causing Andrew to panic. The scene oscillates between fear and dark humor as Andrew ultimately removes the ring, leading to a moment of levity when he laughs off the scare. Napoleon observes with excitement, adding to the chaotic atmosphere, while the scene concludes with Andrew relieved and catching his breath, reassured by Stanley's playful demeanor.
• In a cold and bleak garage at the Kubrick Estate, Andrew gifts Stanley a replica of Caesar's death mask, eliciting a melancholic response from Stanley despite Andrew's light-hearted demeanor. As Andrew leaves, Stanley is left alone with the mask, which he lifts to his face, prompting a moment of introspection and a silent struggle with his emotions. The scene captures Stanley's complex feelings towards the gift, blending somber reflection with dark humor, as Napoleon's voice echoes, hinting at a deeper connection to the historical figure.
• In Stanley's study, he passionately works on a film script about Napoleon, engaging in a lively dialogue with the historical figure about power and legacy. Their discussion is interrupted by David Walker, who is frustrated with Stanley's demands for overly sexualized costume designs. This leads to a comedic confrontation, highlighting the clash between artistic vision and practical design. The scene ends with David storming out, leaving Stanley and Napoleon to share a humorous moment over the costume illustrations.
• In a light-hearted scene set in a business barn office, Bob approaches Andrew during his break, who is casually reading a biography and eating an apple. They engage in playful banter about a new Bond movie and a quirky idea from their colleague Stan regarding Napoleon's accent. Andrew teases Bob about his unkempt appearance, highlighting Bob's work-related stress. Their humorous exchange fosters camaraderie, allowing Bob to momentarily escape his worries before he returns to work, chuckling at their conversation.
• In the Kubrick kitchen at night, Christiane washes dishes while Stanley dries them, discussing the delays in his film project due to Ian Holm's departure. Christiane suggests a break in New York, but Stanley, feeling deeply invested, refuses. Their conversation reveals a conflict over the emotional depth of the script, with Christiane highlighting Stanley's extensive research but lack of writing. The mood lightens as she proposes a movie night, but Stanley insists on a lengthy film instead. The scene concludes with a tender kiss, emphasizing their affection amidst the strain of Stanley's dedication to his work.
• In a night filled with cinematic appreciation and personal moments, Napoleon and Stanley critique Abel Gance's 'Napoleon' in the screening room, leading to an intimate encounter between Stanley and Christiane. The scene shifts to the backyard for target practice, where Stanley shares news of a meeting with an art-history professor. Their camaraderie is abruptly interrupted by Tony Jacobson, a freelance reporter seeking an interview, creating tension as Jan confronts the unexpected intruder.
• An intruder arrives at the Kubrick estate seeking help but is dismissed by Jan after receiving some money. This prompts Stanley and Napoleon to discuss the need for enhanced security. Later, at the British Museum, Stanley engages in an intellectual conversation with Legrace Benson about art and literature. Back at the estate, Andrew, Andros, Jan, and Bob enjoy a football game when a suited man arrives to deliver a letter to Stanley, leading to a humorous exchange as the friends all claim to be Stanley Kubrick. The scene transitions from a tense moment with the intruder to light-hearted camaraderie among friends.
• In this tense scene, Stanley receives disheartening news about a regime change at MGM that cancels their project. He shares the news with Napoleon, who encourages him to persevere. Symbolically burning the cancellation letter, Stanley shows his determination to continue despite the setback. Later, he briefly disturbs his wife Christiane before laying on the sofa, where Napoleon tucks him in. The afternoon brings a confrontational phone call from Sergei Bondarchuk, who mocks Stanley's struggles, escalating their antagonistic relationship. The scene concludes with Stanley asserting his identity as Mr. Kubrick before slamming the phone down, reflecting his frustration and resolve.
• In a tense confrontation, Stanley angrily confronts Bob over a historical discrepancy involving Josephine and Napoleon, demanding accountability. Bob takes responsibility but is left bewildered as Stanley storms out, dismissing his attempts to engage. The scene shifts to night, revealing both men overwhelmed by stress—Stanley obsessively working in his study while Bob struggles alone in the office. The emotional strain is further highlighted as Christiane wakes to find Stanley missing, underscoring the impact of his work on their family life.
• In a tense yet tender scene, Christiane checks on Stanley in his chaotic study, where he is overwhelmed by work and a recent rejection from Warner Bros. As they discuss her desire for a break and a gallery show, the conflict between Stanley's obsessive dedication to his project and Christiane's need for family time comes to the forefront. Despite his resistance, their conversation reveals vulnerabilities and a potential compromise as Christiane offers to manage their assistants' schedules, hinting at a way to balance work and personal life.
• In the backyard of the Kubrick estate, Stanley and Jan engage in a lively ping pong game while discussing the challenges of securing a studio for their project. Jan expresses her need for a vacation, while Stanley remains determined to push forward despite financial constraints. Their conversation takes a serious turn as they talk about addressing Romanian officials, but it is abruptly interrupted when Stanley injures his foot. Jan rushes to his aid, highlighting the tension between their ambitions and the unexpected challenges they face.
• In this scene, Stanley recuperates in bed with a cast on his foot, while Emilio assists him by fetching items and delivering messages. Stanley decides to have Andrew relay bad news to the researchers, who initially respond with humor. A phone call with Christiane reveals Stanley's determination to continue his projects despite setbacks, including news about MGM. Bob enters with flowers, and they discuss filmmaking, highlighting Stanley's ambition. The scene concludes with a light-hearted moment as Bob offers to sign Stanley's cast.
• In the backyard of the Kubrick estate, Andros and Andrew enjoy a game of catch while discussing an upcoming movie adaptation featuring Peter Sellers and Ringo Starr. Their conversation is light-hearted, with Andrew sharing his experiences in the film industry, including his work on the Magical Mystery Tour. Bob joins them, acting as a mentor and humorously inquiring about their productivity. The scene captures a playful conflict between work and leisure, ultimately leading to Bob suggesting they focus on fixing the project's initial parts.
• On a rocky shore under a gray sky, Napoleon and Stanley engage in a tense chess game that reveals their conflicting philosophies on power and strategy. Napoleon, confident and assertive, boasts of his past victories while criticizing Stanley's cautious approach. In contrast, Stanley critiques Napoleon's impulsiveness and reflects on the details that lead to success or failure. The heated exchange culminates in Napoleon's frustration, leading him to sweep the chess pieces into the surf, symbolizing his emotional turmoil and impatience.
• In a night scene split between Stanley Kubrick's bedroom and the Business Barn office, Stanley reflects on power and emotion while caring for his pets and offering to help Emilio with his sick daughter. Meanwhile, Andros and Andrew excitedly discuss an upcoming meeting with Stanley, showcasing their contrasting approaches to the situation. The scene highlights Stanley's intellectual depth and compassion, culminating in an open-ended conversation about Emilio's needs.
• Emilio carries the injured Stanley down the staircase to his study, where Andros, Bob, and Andrew assist in getting him comfortable on the couch. As they search through notebooks, Andrew discovers a passage about Napoleon and his marriage, prompting lighthearted banter between Stanley and the imaginary Napoleon. Despite his injury, Stanley maintains a humorous demeanor, asking Emilio for his typewriter and deciding to stay in the study for recovery. The scene blends tension with humor as the group supports Stanley, culminating in Andrew's playful inquiry about Stanley's choice of a Scottish wife.
• In a vibrant morning scene, Christiane joyfully shares news of her upcoming gallery show with Stanley over the phone, expressing gratitude for his support. Meanwhile, in a nearby office, Stanley's colleagues celebrate his success in securing troops for a project, engaging in light-hearted banter and humorous exchanges. The atmosphere is filled with camaraderie as they navigate the pressures of their respective endeavors, culminating in Stanley's reminder to arrange flu vaccines for the troops, while Bob adds a playful touch to his doodle of Stanley.
• In a dynamic montage, Stanley immerses himself in writing his screenplay for 'Napoleon,' balancing his creative process with family life as Napoleon's presence looms in the study. Amidst the distractions of cats fighting and family interactions, Stanley types diligently, listens to tapes, and engages with Christiane and Katharina. The scene captures the warmth of family support, culminating in Stanley's triumphant completion of the script, which he shares with Christiane. The arrival of Jack Nicholson adds excitement, hinting at a significant collaboration ahead.
• In this scene, Christiane revels in pride as her paintings are showcased at the La'Renz Art Gallery. Meanwhile, Stanley Kubrick meticulously oversees film production at the Kubrick Estate, focusing on costume and prop details. The scene transitions to a business barn office where Bob, Andros, and Andrew discuss their overwhelming work schedules and camera tests. As fatigue sets in, Bob decides to stay late to work on the script, highlighting the stress and exhaustion faced by the production team.
• Bob returns home to a loving reception from his wife Sherry and daughter, who eagerly wants to play a game with him. The scene captures the warmth of family life, transitioning to various characters in their own moments, before concluding with Stanley and Christiane in bed, where she praises his script as a masterpiece, highlighting both personal and professional connections.
• In Gary Lifton's office, Stanley's hopes for his script are deflated when Lifton deems it 'fine' and 'serviceable.' Bob passionately defends the script, but Lifton's focus on marketability leads to a risky proposition: if the competing film 'Waterloo' succeeds, Stanley's project will move forward with Jack Nicholson; if not, they will abandon it. As Stanley contemplates this high-stakes decision, the tension in the room escalates, leaving him to grapple with the future of his work.
• Bob confronts Andrew about his frustrations with the name 'Bondarchuk' before the scene shifts to Stanley Kubrick, who grapples with his thoughts on Napoleon in his backyard. Napoleon challenges Stanley's desire for solitude, leading to a tense exchange. As Stanley wanders his estate, he interacts with his children and discusses film negotiations with Christiane, who reveals a painting of Napoleon that disturbs him. This moment prompts Stanley to reflect on his insecurities, culminating in his acknowledgment of the painting as a masterpiece despite his self-doubt.
• In the dead of night, Stanley Kubrick is unable to sleep, drawn to the sound of Beethoven's 'Eroica' Symphony emanating from his typewriter. Frustrated, he violently attacks the typewriter, silencing the music, and becomes engrossed in editing his script. The scene escalates into a chaotic montage of violent imagery, symbolizing his descent into madness, culminating in a surreal moment where he smiles and points a pistol at the audience.
• In this scene, Stanley is awakened by Christiane, who is preparing for her art exhibit. As she leaves, Stanley becomes engrossed in rewriting a script, motivated by the presence of Napoleon at the typewriter. Meanwhile, Christiane experiences excitement at her gallery opening, interacting with guests and receiving praise for her work, but feels a deep sense of disappointment over Stanley's absence. The scene contrasts Stanley's solitary focus on his writing with Christiane's vibrant yet frustrated presence at the exhibit, culminating in her mixed feelings of pride and neglect.
• In a night filled with tension, Stanley struggles with the distraction of Napoleon's relentless typing in his study, prompting him to rush out in search of Emilio. Meanwhile, at the La'Renz Art Gallery, Christiane takes center stage, captivating art enthusiasts with her powerful story of resilience and the transformative nature of art, ultimately shifting their focus from her husband's work to her own. The scene transitions from Stanley's urgency to Christiane's empowering narrative, culminating in applause from the audience.
• The scene captures a day in the life of Stanley Kubrick at his estate, blending family warmth with professional pressures. It begins with a joyful family breakfast and playful football, transitioning to Stanley filming his daughters' piano performance. As evening falls, he reviews a script in his study before joining a brainstorming session with his team, discussing potential projects like 'A.I.' and 'Burning Secret.' Stanley praises their efforts, emphasizes the importance of their upcoming film, and encourages support for another director. The scene concludes with Stanley reflecting on the weight of their work and the film's significance.
• In the intimate setting of the Kubrick bedroom at night, Stanley grapples with the decision to confront a significant aspect of his life and legacy. Christiane comforts him, encouraging him to embrace uncertainty and the need for connection, despite his usual desire for control. Their conversation blends tenderness and humor, highlighting Stanley's internal struggle. As he prepares to face his challenges alone, he finds solace in Christiane's support, promising to return to her.
• In a somber London night, Stanley watches the film 'Waterloo' alone, deeply engrossed. After the screening, he contemplates the film's outcome and his own artistic failures, joined by an apparition of Napoleon, symbolizing his internal struggle. Christiane later reads a negative review of the film, which amplifies Stanley's sense of defeat, leading him to declare, 'It's over.' The scene captures his resignation and introspection as he walks away from the past.
• In the Business Barn Office, Bob, Jan, Andrew, Andros, and Emilio pack away Napoleon research, reflecting on their past connections. Stanley engages in a profound conversation with the spirit of Napoleon, who inspires him to persevere despite setbacks. Afterward, he shares a tender moment with Christiane, discussing her art show and their love. The scene concludes with Stanley contemplating a book, smiling at the audience as the music swells.