koreans want to insist they do north koreans want to insist they do have the right, as they see it, defend themselves. this is contrary to the un resolution and contrary to the attitude of president donald trump, he is determined not to allow north korea to develop the capability to find a killer weapons as far as the united states. the problem with this goes back to 2002 when you had the famous speech of president george bush extending the war on terror to this axis of evil and implying that regimes to be terminated, as happened with iraq. one of the three countries on that axis of evil was north korea, since then the north koreans have been almost paranoid at times, expecting to be attacked. this is why they are insisting that they have the right to develop nuclear weapons. that is a dangerous thing. we are seeing now hide this is coming to head. well this one test is relatively small, it is part of a development which i think cause concern.

china has reacted by saying the situation is complicated and encouraging north korea to create conditions for a return to talks. is that all that china can do or say? it seems all it is prepared to say. incidentally, there is also a statement from the russian national news agency warning that this is a dangerous development but also almost pleading for caution and not be rushed response. as far as china is concerned, it has more influence. there is evidence that it has been tightening economic sanctions on north korea. its problem is twofold. if the worst came to the worst and there was any kind of major conflict which hopefully would fall short of the use of nuclear weapons, that could still lead to millions of north koreans fleeing into china. it is an added problem the chinese do not want. more than that, in the long term, they do not want to see a

unified berlin chiller more or less under western influence, so what they want is a slow, steady possibly peaceful transition to a more open and mixed economy society. it's a tall order and it's not something that can be done in the short term and the problem as far as donald trump is concerned, he does not want the alternative of north korea staying more or less in its present form. that is a major problem for beijing. thank you. we're going to take you to australia now where there's been a shark encounter of a very different kind. a 73—year—old fisherman has had a narrow escape after a great white jumped into his boat. it happened off the north coast of new south wales. the 200 kilogram beast injured terry selwood after knocking him to the floor of his vessel. here's terry sharing his story with abc news in australia. one of the hand lines, on the

left—hand side, made a bit of a jump. i thought i had a bite. left—hand side, made a bit of a jump. ithought i had a bite. i touch the hands ijust caught a blur in the corner of my eye and jazz out of instinct, i threw my right arm up and jazz out of instinct, i threw my right arm up in the spring hit me in the forearm and off my feet and i fell on my hands and knees and this thing was beside me and i looked over and thing was beside me and i looked overandl thing was beside me and i looked overand i said, oh, a shark. so, he was doing a mad stands around, thrashing everywhere, sol was doing a mad stands around, thrashing everywhere, so i got up as quick as i could. i thought he had broken my arm, but he hadn't. i thought he broke one of the bones in my arms, but he may be bruised it and pour the skin off and then i did and pour the skin off and then i did a hanky out of my pocket and wrapped it around as tight as i could to try and stop the bleeding a bit and i just hung on, grabbed my little radio and cold because guard and they came and picked me up. more on our top stories at midday, but 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 of 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 dealt with some of the most pressing issues of the day. cinema is about life, and life right now is very tumultuous. plus the row over streaming giant netflix showing its films at the festival. when netflix's name appeared, there was a lot of boos. and on its 70th anniversary, we look back at cannes through the decades.

all that and more in this special cannes edition of talking movies. cannes proceeded pretty much as normal this year, although heightened security was much more noticable and the mood was subdued and a little tense after the manchester bombing. une minute du silence. festival—goers still thronged the croisette, 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 is not to say there was no american presence. far from it. us indie films featured prominently in the lineup. one of the more eagerly awaited american pictures was sofia coppola's the beguiled. the story of a wounded union soldier during the us civil war, sheltered by women at a virginia 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 that included colin farrell, elle fanning kirsten dunst, and nicole kidman. us director todd haynes had wonderstruck in competition. a well—crafted film telling 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 from director noah baumbach, whose sharp writing film was much appreciated by his cast. he really is the best and we do say his dialogue word for word, whether we like it or not. these are politically charged, tumultuous times and several films at cannes this year dealt with political issues oi’ pressing concerns, whether it be climate change, animal exploitation, or refugees. at the forefront of films addressing

the refugee crisis was legendary 80—year—old british actress vanessa redgrave, making her debut as a film director. four people are living here. the plight of the world's refugees weighs 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, no tackle, sail nor masts. 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, 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 the beach.

dead. so then i thought, i've got to make a film. and i 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 becoming a refugee. so we were evacuated. i and my brother who was about a 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're 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 to michael haneke's drama happy end starring isabelle huppert. and the refugee also figured fantastically injupiter‘s moon from hungarian film—maker kornel mundruczo. are you afraid?

yes. the story of a refugee who travels 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 at cannes was an inconvenient sequel: truth to power, former us vice—president al gore's follow—up to his celebrated an inconvenient truth climate change documentary 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 in future generations. al gore is seen globetrotting, going to places where ice is melting, where there have been destructive storms, and going behind the scenes at the paris climate conference, negotiating deals. there's an emphesis on hopeful solutions to 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 have criticised his policies and many of his appointments. but i have 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 were you thinking? couldn't you hear what the scientists were saying? could 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 filmmaker. his last picture, leviathan, was celebrated abroad, and it brought him an oscar nomination, but it was heavily criticised at home.

his new film was very warmly received here at cannes. bbc culture's matthew anderson reports. loveless is the story of a failed marriage in its painful terminal phase. boris and zhenya live together on the outskirts of st petersburg with their 12—year—old son, alyosha. 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 parental bust up, two days pass before anyone even notices. when they report alyosha's disappearance to the police, they're not very interested. they say they have more important cases to deal with and children go missing in russia all the time. translation: the police really just reflect the interests of the government, the people with power. whenever there is some kind of tragic situation, people have to organise themselves in order to help themselves. the volunteer organisation that helps look for the

missing child 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 truly operates in big cities in russia. it is a matter of principle for them that they don't take money and they are not a government enterprise. zvyagintsev has been criticised in the past for casting russia in a negative light on the world stage. many felt his previous film, leviathan, about a man at the mercy of corrupt official, was robbed of the palme d'or when it played at cannes in 2014. but in russia, it was condemned by state officials, the russian orthodox church, and conservative social groups. perhaps for this reason, the director is keen to soft—pedal the political dimension of his new film. translation: it's not some sort of political thing, because it elaborates more

on the inner world of a person, and the relation of their family and the people they love. it's more of an intimate story. it's not about a portrait of russia. this will perhaps give the film an easier ride with russian film critics. to me, it's a superior thing to leviathan. because leviathan was — although i liked it — it 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 the 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 broken russian institutions. notjust a marriage, but also family, the police and the media. so will viewers abroad miss some of the film's subtleties? they will miss a little bit. but it's not crucial. i mean, that's what makes andrei zvyagintsev an understandable director. it's his ability to say things in a universal language. it's 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 were also released simultaneously, traditionally, in cinemas. the first netflix film to be shown at the festival was ija, a well—received 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 filmmaker 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, snowpiercer, 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's reaction, when in fact, a technical fault was to blame. the cast were diplomatic about the controversy. there is evolution happening. i think it will continue. right now, it's just at a moment where a conversation is being had. so to be a part of that 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 refuse to yet many film 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 netflix and amazong in the screenings here are ways

of showing support for the traditional method of releasing films — on a big screen, in a cinema. there are fears that this could become less frequent with the dominance of these 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. 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 it's mentioned that we were workinh with different languages and there might have been issues, i am shocked, because i did not... i have never experienced that. it always feels like we're all putting together something that is made out of the same language. it's the pitches that we're making and that's the real language that we're dealing in. the potential appeal of this film

to all generations should bring the director offers from hollywood, should he want them. and the outrage has ironically only raised the film's profile. ija isn't a pig that can fly. nevertheless, it's not impossible to imagine that sooner or later most cinema fans will accept the new world order, especially if it continues to produce such unusual onscreen spectacles. one of the most talked about films this year was the square from swedish director ruben ostlund. he's the filmmaker who made a name for himself three years ago with the international arthouse hit, force majeure. his new film is a satire centred on an art museum in stockholm and it had serious points to make about power, morality and social responsibility. bbc culture's rebecca lawrence reports. 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. when his phone and wallet are stolen in a square outside the museum, he takes reckless vigilante action that has devastating consequences. the film works as a razor—sharp satire of the bourgois 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 different situations. since i am interested in undresseing the roles we're trying to play then, of course, i also want to undress christian and when he, like, confronts himself, really down to the bone. do you just go have sex with lots of other women?

and stripping christian down to the bone is what ostland does through a succession of increasingly bizarre and embarrassing 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? always. yeah? so what's my name? you look at a man like this and you think, oh, i know you. i know what you're up to and i know what you do. and, um, nailing him on it a little bit and calling him out on it was really fun. i think we have all wanted to do that at times as women. be like, i know what you're up to... i've seen you.

i see you, boo. ostland is swiftly becoming the king of cringe creating scenes with toe—curling humiliations for his protagonists. i love awkward situations, i would say. you know, a lot of stand—up comedy is based on awkward situations. it creates a kind of humour that is very direct and that you identify with as an audience. besides 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, a actor role—playing an ape pushes and pushes at the of boundaries acceptability. and in turn, reveals the absurdity of social conventions. ostland is a very provocative film—maker. he 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 and making us recognise ourselves. we watch people doing terrible things and think that we will never do that and then 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 two, 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 1916, its first year in operation, bringing cinema of the day to festival—goers. cannes of the 19405 was very much associated with italian neorealism. one of the films in the first edition from 1916 was a rossellini film.

the french critics were very enthusiastic about 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 that exotic queen of the screen sofia lorens to excite the pressmen and crowds? it wasn't only international art cinema that defined cannes in its formative years. there was glitz and 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 films 5late at cannes has recognised key films and filmmakers. cannes is dominated

as the international ta5te maker for arthouse cinema. there are over 4000 film festivals a year and many of the other important film festivals look at what cannes is showing what the awards are and what the word of mouth is. it influences many other film festivals that follow. but cannes is perhaps not so influential as it once was in spotlighting in new cinema. in the 19605, cannes was far more crucial as a taste maker 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 any other festival. it is not quite the same thing of limited access in every sense. that cannes represented in the 19605 and even 19705. now 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, a pretty lopsided selection still. but even with its imperfections, every may, cannes intoxicates. the striking location, the emphasis is on fine art cinema juxtaposed with brash consumerism. it all combines to create a unique cannes experience. that brings our special cannes edition of talking ovies to a close. we hope you've enjoyed it. please remember you can always reach us online at bbc.com and you can find us on facebook too. 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. good morning. unfortunately, no riviera where the frost acro55 good morning. unfortunately, no riviera where the frost across the uk. bank holiday monday, of course, rain in the forecast. like lazio therefore most of us. this is a typical scene for many of us in lincolnshire earlier on this morning. there is some sunshine across morning. there is some sunshine acro55 east anglia and the south—east of england but ruby for most of us as you can see from the satellite picture, pretty great, cloudy skies and with that grey sky, some showers. those water and heavy for a time acro55 parts of wales up in northern england, the midlands, perhaps with rumbles of thunder in the south—east as well. the rain spreads from northern ireland into scotla nd spreads from northern ireland into scotland with maximum temperatures reaching 23 degrees. tonight, most showers will clear away towards the north—east and then during tuesday, another band of rain will move its way to northern ireland, into scotla nd way to northern ireland, into scotland and eventually will break up scotland and eventually will break up as it pushes its way through into

england and wales. some bright and sunny spells particularly for scotla nd sunny spells particularly for scotland and northern ireland. le55 humid but warmer here. in the south ea5t, temperatures at around 20 and 22 degrees. goodbye. this is bbc news. i'm lukwesa burak. the headlines at 12.00am: a 23—year—old man is arrested in connection with the manchester terror attack in the sussex town of shoreham—on—sea, near brighton. police are also searching addresses in manchester and chester. the latest arrest means there are now 14 people in custody. ba says its flights are gradually returning to normal after a global system crash, although there are still some cancellations. blue peter's longest serving presenter, john noakes, dies at the age of 83. his family say his escapades with his dog shep will live on in people's memories. also this hour: a crackdown on drivers using their mobile phones. more than 200 people a day have been

caught breaking the law in the month since the rules were tightened.