british police have released a new cctv image of the manchester suicide bomber, salman abedi, on the night he carried out his suicide attack. 11 people connected to him have now been arrested. meanwhile the authorities have lowered the threat level of a terrorist attack from critical to severe. british airways says it's aiming to operate a near—normal schedule at gatwick airport and most services from heathrow on sunday. tens of thousands have been stranded around the world because of a computer failure. two train passengers in the american city of portland have been stabbed to death after trying to stop a man racially abusing muslim teenagers. the attacker has been named asjeremy christian — who had previously expressed extreme racist views. he is now under arrest. those are your headlines on bbc news. now on bbc news, it's talking movies. hello from the french riviera,

and welcome to this special edition of talking movies, where we look back on some of the highlights from this year's cannes film festival — the films that got festival—goers talking. if i heard that a movie went to cannes, i'm always curious about it. a clever satire from sweden called the square, and a grim portrait of modern russia and human relations in loveless. the pictures that dealth with some of the pressing issues of the day. —— dealt. cinema is about life, and right now, like us tumultuous. plus the row over netflix showing its films at the festival. when netflix's name appeared, there were a lot of boos. and on its 70th anniversary, we look back at cannes through the decades.

all that and more on this special cannes edition of talking movies. cannes proceeded as normal this year, although heightened security was much more noticeable, and the mood was subdued and a little tense after the manchester bombing. festival—goers still thronged, baguettes were eaten, and espresso was downed. one big difference, film—wise, this year, is that no big hollywood studio pictures were unveiled, but that's not to say there was no american presence — farfrom it. us indie films featured prominently in the lineup. one of the more eagerly awaited films was sofia coppola's the beguiled, the story of a wounded union soldier during the american civil war, sheltered by women at a virginian junior girls‘ school. it's a reimagining of a 1971 film, starring clint eastwood, that coppola has told from the women's point of view.

many critics at cannes viewed it as coppola's best film since her award—winning lost in translation. she was helped by a powerful cast, including colin farrell, kirsten dunst, nicole kidman, and elle fanning. us director todd haynes had wonderstruck in competition. a well—crafted story that told two parallel stories of two deaf children from different time periods. and then there was the was the well—received neurotic new york family comedy, the meyerowitz stories, by director noah baumbach, whose sharp writing was praised by his cast. he truly is the best. and we do see his dialogue word for word. whether we like it or not. —— say. these up politically charged, tumultuous times, and several films at cannes, this year, dealt with political issues, or pressing concerns — whether it be climate change, animal exploitation or refugees. at the forefront of films addressing the refugee crisis was 80—year—old

legendary actress, vanessa redgrave, making her debut as a film director. poor people living here... the plight of the world's refugees ways heavily on vanessa redgrave. to explore the refugee crisis, her documentary draws on a range of media — video of her visits to a refugee camp, individual testimonies, news footage, a dramatised excerpt from shakespeare's play the tempest. they prepared a rotten carcass of a boat — not rigged, nor tackle, sail, nor mast. for vanessa redgrave, long a political activist, there were several reasons why she ended up making a film on the refugee crisis. well, it's a lifetime of events, to be — as i see it, a whole process. but there was a specific trigger, yes. the day that photograph was published of little alan kurdi, lying on the pebbles of bodrum beach, dead.

so then i thought, i've got to make a film. um, and i'll put my money into that. i was in the garden, it was a hot day, and, suddenly, i heard this horrendous sound fill the sky. air raid siren. the film she has made is thoughtful and personal. in one section, she recalls her own world war two experiences as a young child, a wartime evacuee, the closest she came to being a refugee. so we were evacuated. i, and my brother, who was about one—year—old. today, we would be called "internally displaced persons," so we were refugees, in our own country. i was worried about having much of myself, but my producer convinced me that telling my narrative of the second world war, and what happened to me, as an evacuee, along with thousands of

other children, would help people understand about refugees coming from other countries. i thought, i must make a film, so when people watch this film, they will feel as if they are watching relatives, not as if they are watching some strange subhuman race. while the filmmaking in this documentary is a little awkward at times, any shortcomings are easily forgiven by audiences, because the subject matter is so strong, as is vanessa redgrave‘s commitment to it. the theme of the migrant was evident in other cannes films — in the background of michael haneke‘s happy end, and the refugee also figured fantastically in jupiter's moon from a hungarian kornel mundruczo, a story of a refugee travelling into hungary, and after he is shot, finds he has a superpower — he can levitate, or fly. one of the most earthbound films to

be shown was an inconvenient sequel: truth to power, former vice president al gore's follow—up to his acclaimed climate change documentary, an inconvenient truth, which premiered at cannes 11 years ago. the new film has more action than the original. it is wrong to pollute this earth! it is right to give hope to the future generation! al gore is seen globe—trotting, going to places where ice melting, where there have been destructive storms, going behind—the—scenes at the paris climate conference, negotiating deals — there's an emphasis on hopeful solutions for the climate crisis. the trump administration, i don't have to tell you,

doesn't appear to be that interested in climate change. would you like president trump to watch your film? yes, i would. i don't know if he will or not. i've criticised his policies and many of his appointments, but i haven't engaged in a dialogue with him, nonetheless. and i still have hope that he will decide to keep the us in the paris agreement. we have learnt in the last several months, however, that no one person, even a president, can stop this climate movement. the next generation would be justified in looking back at us and asking, what we were thinking? couldn't you hear what the scientists were saying? couldn't you hear what mother nature was screaming at you? this is our home. strong storytelling came from russia, this year with the film loveless, directed by andrey zvyagintsev, the country's foremost contemporary film—maker. his last film, leviathan, got him an oscar nomination

but was criticised at home. but this one was well—received here at cannes. bbc culture‘s matthew anderson reports. loveless is the story of a doomed marriage in its painful terminal phase. boris and zhenya live together on the outskirts of st petersburg with their 12—year—old son, alyos ha. the family's high—rise apartment has become a toxic environment of petty arguments and bitter recriminations. and, when alyosha goes missing after one particularly explosive parentalbust up, two days passed before anyone even notices. —— parental bust—up. when they report alyosha's disappearance to the police, they aren't very interested. they say they have more important things to deal with, and children going missing in russia all the time. translation: the police reallyjust reflect the interests of the government, the people of power. when there is a tragic situation, people had to organise themselves, in order to help themselves. a volunteer organisation that helps investigate alyosha's disappearance

is the one glimmer of hope in an otherwise relentlessly downbeat portrayal of russian life. translation: so it is a true group of volunteers, which operates in big cities in russia. it's a matter of principle for them that they don't take money, and they're not a government enterprise. zvyagintsev has been criticised in the past for casting russia in a negative light of the world stage. many felt his previous film, leviathan, about a man at the mercy of corrupt officials, was robbed of the palme d'or, when it played at cannes in 2014. by in russia, it was condemned by state officials, the russian orthodox church, and conservative groups. this time, andrey zvyagintsev is keen to soft—pedal the political aspect of his new film. translation: it's not a political thing, because it is more about the inner world of a person, and the relations of their family,

and the people they love. it's an intimate story, not a portrait of russia. this will perhaps give the film an easier ride with russian from critics. to me, it is a more superior thing than leviathan. because for me, although i liked it, leviathan was wearing its political agenda too much on its sleeves, to my tastes. but this one is more focused on human characters. these characters are, however, highly unsympathetic. they are shown as selfish, vain, and obsessed with material wealth, and social status. translation: you say they are not sympathetic — well, most of the viewers will recognise themselves in these characters. you see what is not sympathetic about these characters, but you acknowledge that a part of you is close to them. it is a complicated picture — a personal story, but one with political overtones and, although the director is keen to play these down, loveless does contain clear criticism of russia's broken institutions, and notjust marriage, but the police and the media.

so will viewers aboard miss some of the subtleties? they will miss a little bit. but it is not crucial. but that's what makes his work understandable as a director. his ability to say things in a universal language is clear to almost everyone. there was much talk in cannes over the american streaming giant netflix, which had two films in competition. many thought that netflix shouldn't be allowed to compete at the festival, unless its films will also released simulataneously, traditionally, in cinema. the first netflix film to be shown at the festival was ija, the story of a young girl struggling to save her huge pet pig from the clutches of a mean corporation. emma jones reports. let nothing come between the love

of a young girl for her giant pig. ija is the latest movie from the visionary korean film director, bong joon—ho. when mija's best friend, the pig, ija, is snatched away to new york to become a corporate empire's latest product, she undertakes a rescue mission. you should know the situation is not good. like his last film, snow piercer, director bong has assembled an international cast, working again with tilda swinton, plus jake gyllenhaal, lily collins, giancarlo esposito, and paul dano. the film got a four—minute ovation from the press at cannes, but it also got booed at the start of the screening, when the netflix logo appeared.

it led to inaccurate reports that the film was temporarily stopped due to the press‘ reaction, when, in fact, a technical fault was to blame. the cast were diplomatic about the controversy. there is an evolution happening. and i think it will continue. right now, i think it is at a moment where conversation is being had. so to be a part of a conversation with a movie that sparks further conversation, i think, is a very interesting thing, and it's a huge honour to be included. netflix has also funded offbeat director noah baumbach‘s movie, the meyerowitz stories, which is another cannes presentation, and amazon produced todd haynes‘ wonderstruck, which, like ija, is in competition. they are funding risky movies when traditional studios refused to, yet many critics deride their presence here. this, cannes‘ 70th birthday, is very much about a clash between the old and the new. the booing of companies such as amazon and netflix in the screenings here are ways of showing support for traditional methods of showing films, on a big screen, in a cinema.

there are fears that this could become less frequent, under the dominance of new giants. the festival has responded to the controversy by saying that next year, no film can be in competition unless it also promises a french theatrical release. the two sides of the debate need to learn to talk the same language. and in that, they could learn a lot from ija. as usual, the director has made a multilingualfilm, spanning different continents — which isn‘t as difficult as it sounds. every time that it‘s mentioned that we were working in different languages, and there might have been issues, i am shocked, because i did not — i have never experienced that. it always felt like we all putting together something that is made out of the same language. it is the pictures we are making. and that‘s the real language that we are dealing in. the potential appeal of this film to all generations should bring bong joon—ho offers from hollywood.

should he want them. and the outrage ironically has only raised the profile of the film. it is not impossible to imagine that sooner or later, most cinema fans will accept the new world order — particularly if it continues to produce such onscreen spectacles. one of the most talked—about films this year was the square. here, the filmmaker, ruben ostlund, made a name for himself three years ago with the international arthouse hit, force majeur. his new film is a satire centred on an art museum in stockholm with it serious points to make about power, morality and social responsibility.

claes bang stars as christian, a handsome, urbane and successful curator in a stockholm modern art museum who is putting on a new exhibition about trust and social responsibility. but when his phone and wallet are stolen at a square outside the museum, he takes reckless vigilante action that has devastating consequences. the film works as a razor—sharp satire of the bourgeois art world, the modern media, masculinity, and even swedishness. what i always do when i write scripts, i have myself as the starting point. so i think a lot about how i would react in this kind of situation. since i am interested in, like, undressing the roles we are trying to play then, of course, i also want to undress christian and when he, like, confronts himself, down to the bone. do you go have sex with lots of other women? ummm... and stripping him down to the bone

is what the director does, through a succession of increasingly bizarre situations. how often would you say that you take women that you don't know very well and have sex with them? he has an encounter with a journalist, played by elisabeth moss. their series of awkward power struggles had audiences at cannes squirming. you know their names? yeah. always? yeah. so what is my name? you look at a man like this and you think "oh, i know you. "i know what you are up to and i know what you do." and, um, nailing him on it a little bit and calling him out on it was quite fun. i think we have all wanted to do that at times, as women. be like "i know what you are up to. "i have seen you.

i see you, boo." ostlund is quickly becoming the king of cringe, creating scenes with toe—curling humiliations for his protagonists. i love awkward situations. much stand—up comedy is based on awkward situations. it creates a sort of humour that is direct and that you identify with as an audience. beside the direct humour, some of the most memorable scenes in the square expose the fine balance between our inner and outer selves — our social persona and our instinctive nature. during a sumptuous gala dinner, for instance, one actor role—playing an ape pushes and pushes at the boundaries of acceptability. and in turn, reveals the absurdity of social conventions. ruben ostlund is a provocative filmmaker and revels in showing us uncomfortable sides of social behaviour and, really, all of his films are about putting a mirror in front of the audience, making us recognise ourselves.

we watch people doing these terrible things and them you realise "oh, iwould and i have." cannes is celebrating a big birthday this year — its 70th anniversary. from its inception just after world war ii, it has grown to become what is generally regarded as the world‘s top film festival. talking movies has been looking back at cannes through the decades. cannes today, the mother of all film festivals. cannes in 1946, its first year in operation, bringing cinema of the day to the festival—goers. cannes of the 19405 was associated with italian neorealism. one of the films in the first edition from 19116 was rossellini‘s rome, open city. the french critics were very enthusiastic about the neorealists.

the first few editions of the festival did a big part to put neorealism on the map. and who else would it be but sofia loren to excite the pressmen and crowds? it wasn‘t only international art cinema that defined cannes in its formative years. there was glitz, glamour, the media circus. cannes was always very good at attracting the most beautiful, talented and famous and, certainly, if you look at some of the images from the 19505, and you will see robert mitchum and kim novak and ava gardner. the glamour, the glitz, the stars on the riviera. that really was solidified in the 19505. over the years, the official film slate at cannes has repeatedly recognised key films and filmmakers. cannes has dominated as the international tastemaker for arthouse cinema. absolutely.

there are over 4,000 film festivals during the year and many of the other important film festivals look at what cannes is showing and look at what the awards are in cannes and what the word of mouth is. it influences many other film festivals that follow. but cannes is perhaps not as influential as it once was in spotlighting new cinema. in the 1960s, cannes was far more crucial as a tastemaker in the absence of other festivals, in the absence of what we now have in terms of the internet and social media. everything is on the internet, whether it be cannes or another festival. so it is not quite the same thing of limited access in every sense that cannes represented, say, in the 19605 and 19705. now, you know, we get our knowledge from immediate and varied sources. cannes has not been without criticism. the ongoing lament

is that the festival is too much of a boys club. gender balance is often an issue at cannes. there have been years where it has been an almost entirely male competition. slightly better this year but certainly, still a lopsided selection. but even with its imperfections, every may, cannes intoxicates. the striking location, the emphasis is on fine art cinema juxtaposed with bra5h commercialism and the glitz and glamour all combine for a unique cannes experience. that brings our special cannes edition of talking movies to a close. we hope yo‘ve enjoyed the programme. please remember, you can always reach us online bbc.com and you can find us on facebook as well. so from me and the rest of our production crew here on the french riviera, it is goodbye

as we leave you with some of the sights and sounds of the cannes film festival. hello once again. we really crammed in a great deal of weather acro55 the british isles during saturday. bright enough for many, and the temperatures really responding to that, as well, 27, again, around the murray firth, down acro55 east anglia, and on the eastern shores of england. but all of that heat eventually sparked off quite a bit of thunderstorm activity. a lot of you telling us about that on our twitter feed. and it was really there to be had right across the north of england. spectacular amounts of lightning for some of you. but underneath it, my word, what a drenching to be had. notjust of rain — a number of you reported on the hail, and for some, my word, it alljust passed you by, and it was just a glorious day. first off on sunday, a fresher start i would‘ve thought for many. single figures in some 5outhern counties. a dull old start for the north—west of england, then arching through north—west scotland, and a chance for a little bit of rain on the breeze. and once we get on into the day, a lot of fine weather,

maybe one or two showers on the eastern border5 of england and scotland. further west, dry, fine for the most part. bits and pieces of sunshine coming through boosting the temperatures. northern ireland faring nicely. dry weather there. so to across the north of wales, northern england, but come further south and west, there is the next belt of whether gradually working its way in from the south—west. not the fastest thing on two legs — it really will take time before you see any evidence of that getting up towards london. it will be quite late in the day before some of that rain begins to break out towards the meridian over towards east anglia. following on behind, much muggier air and coming back into the south of the british isles. that could spawn some really quite violent 5trong thunderstorms in the wee hours of bank holiday monday. and notice tho5e temperatures again — not be lower than 1a or 16, a fresher feel before the rain belt. for bank holiday monday,

we keep on puhing that rain further rain further north. the area most at risk of seeing temperatures soar away again with the attendant thunderstorms i5 east anglia and the south—east. perhaps something a little bit fresher, a little bit quieter by way of weather across the south—west. monday into tuesday, an area of low pressure ju5t throws this weakening weather front across the british isles. notice the number of isobar5. quite windy for a time until we get to wednesday, when it will settle down. indeed, on into thursday as well, with the high pressure building in. so after the passage of the weather front, with a wee bit of rain in the midweek — it will be a good deal quieter. hello, this is breakfast with rogerjohnson and rachel burden. detectives release new images

of the manchester bomber salman abedi. the pictures were taken in the hours before the attack, police are asking the public for help in tracing his movements. the parents of one of the victims georgina callander add their own tribute to the thousands that have been placed by members of the public. manchester‘s first big music event since the bombing goes ahead with a highly visible police presence and no hitches. good morning, it‘5 sunday 28th may. british airways resume5 flights in and out of heathrow and gatwick after an it failure leaves thousands of passengers stranded around the world.