he says he is from norwich —— neurons but his accent changes all the time. there was a by tim burton about edward. the reason that from what is that you didn't think he was a terrible film maker, have generally, you believed in him even though the film was terrible. in this case, tommy seems to believe the film she is making is that tennessee williams level drama and the fuse he is making an incredible piece of art and the reason it works that way is that all the awful direction, they are all there but it works because you also believe that beyond that, there is something of pathos, something of tragedy, something of the dream about tommy that makes them acceptable and we see him be appallingly onset and the film does not shy away from the fact that on said he did behave really, really badly. do you need to have seen the room to get the joke?

i don't think so because i think... i mean, for a start, you see the room, it makes no sense anyway and when you see the individual scenes that they're recreating, i mean, it makes sense because you understand that basically tommy... at one point seth rogen, who is playing the script supervisor, says it's not to do with whether he's made a movie, has he even seen a movie? he genuinely has no idea how to do this. i thought it was really funny. i thought it was dark when it needed to be dark. i thought it had a strange sort of dreaming charm about it but, in the end, it's a story of triumph over adversity, by making something that's so catastrophically terrible that it ends up getting celebrated. and it made me laugh twice all the way through. 0k. well, i'm intrigued. you done that for me, i'm definitely intrigued. happy end — is that an ironic title? it's a michael haneke film. it's the closest he'll get to making a farce. this is a michael haneke film about a bourgeois family who, behind the facade, there are foul lurking secrets and the cast includes isabelle huppert, jean—louis trintignant and tobyjones — our very own tobyjones. as with all haneke‘s work,

it's engrossing, it's creepy, it's unsettling, but there's also a very strange sense of deja vu. there's a thing early on with video phone footage that reminds me of benny's video, a very early film of haneke‘s. there's some other stuff which has got surveillance—type footage which makes you think of cache, of hidden. there's also a strange kind of left—turn referral back to amour and the weird thing about all those films i've just cited, when we first saw them they were startling, they were original, they were surprisingly. this isn't. it's well—made. .. haneke knows how to get brilliant performances out of actors, he knows how to make something feel creepy and strange without quite telling you what it is. but it did feel like we were retreading old ground. i think he's a great film—maker but this is that weird thing. to me this felt like... and i never thought i'd use it, an incidental haneke film. itjust felt like, "0k, there we go, that's the new haneke film." that's it, that's it.

and we'll move on. and it lacked that element... i remember when i saw amour, just thinking, "i can't believe he just made that movie because it's just so breathtaking" and this isn't. wonder — what did you make of this? i've read such divided things about this. have you? i haven't read other reviews so i'll tell you up front, i liked it. it's adapted from r] palacio‘s novel by stephen chbosky, who's best known for perks of being a wallflower. story is jacob tremblay is a young kid, augie, who is really interested in science, really interested in space, and has spent most of his childhood being home schooled because he's had a series of facial operations as a result of a rare genetic condition. now, as he becomes a fifth grader, he's going to school for the first time, so it's a thing about going to school, which is difficult enough, also made more difficult by the fact augie understands that he is different to the people with whom he's going to have to interact, and it's about, at the beginning, thatjourney. here's a clip. now, i gotta stop here because past this point is a no—dads zone and you don't want to walk up with your parents because it's not cool.

but you're cool. i know i am, but technically most dads aren't, so... neither are these helmets. hey, two rules — first, only raise your hand once in class, no matter how many answers you know, except for science — crush them all. check. second, you're going to feel like you're all alone, augie, but you're not. check. shall we lose this? come on. costumes are for halloween. prepare for blast—off. i love you. i love you, too. have fun. bye. so owen wilson, julia roberts and of course, jacob tremblay. you can see from that, lots of laughs in that clip and it's also something that tugs

at the heartstrings. it's also more complicated than it looks like. at the beginning, you think you're going to see from his point of view but actually what happens is the narrative fractures and you see the story from lots of different characters‘ point of view. from the point of view of his sister, who feels that she's been neglected because all her parents‘ attention have gone to her brother. you see the sister's friend, who is no longer a friend, and you find out her backstory. even boys in the film are given context for their bullying. so i thought for a start it's a much more complex narrative than people have perhaps given it credit for — it has perhaps a kaleidoscopic structure. the other thing is the film made me laugh and the film made me cry, and those are difficult things to do. people take them very much for granted and think it's very easy to do. it's not easy and it works because the performances are good, the script is well honed, and it felt like to me a film that was made with heart, with care, by people who were telling this story and they really cared about the way the story was... yes, there is sentimentality in it but i think it is sentimentality that it turns. —— sentimentality that it earns.

i mean, i cried a lot, i laughed a lot, i was really engaged with the story, and i went in slightly suspicious because i'd seen the trailer, which was a little bit... you didn't know quite which way it was going to go but i thought it was a pretty terrific piece of work. and jacob tremblay, he's a really, really talented young actor and i thought that the director handled it with exactly the right degree of schmaltz and seriousness. i laughed, i cried, it worked. 0k. best out this week? battle of the sexes. this came out last week and this is the fictionalised or the dramatised story of the tennis match between billiejean king and bobby riggs. it became called the battle of the sexes. there was a documentary about this almost exactly the same name in 2013. again, going in to see the drama, the documentary was so great, will they be able to capture that spirit? and they do, they really, really do. emma stone is great as billiejean king.

steve ca rell absolutely inhabits this clown, you know, male chauvinist buffoon role of bobby riggs. the texture of the film is great — it feels like a film that was made in the 19705. it's got an important lgbt story at the centre of it, it's got political relevance, it's very, very personal. again, it's funny. it is a comedic drama and it's all true. the weird thing is you're looking at it and you think, "they must be making this stuff up" and then you see the documentary and it's absolutely true. yes, fantastic. quick thought about dvds for anyone who wants to stay in? my feral heart came out last week — we weren't on last week — but this is a really, really great indie pic. one of my favourites of the year, directed by jane gull. steven brandon is a young man trying to find his place in the world. it's a film that did brilliantly with the our screen programme in which people put on screenings in their own cinemas. it really found its audience. it was a film with a very, very low—budget. again made with an enormous amount of heart and it is terrific. it's called my feral heart and i defy anyone not to be won over by it. excellent. i am looking forward to that one. thank you very much, mark. thank you. a really interesting week.

thank you. just a reminder, of course you can find all film news and reviews from across the bbc online. and all our previous programmes are on the iplayer as well of course. and that is it for this week. we have clear skies, there could be a touch of frost and fog patches also. cloud for the west and the odd shower. mandy, not looking too bad. large radius of cloud falling through, the quirkiest —— biggest of which could produce rain. it's

hardly dry day with some spills of sunshine and temperatures not doing too badly for the time of year. as we would deeper into the week, after that quiet and mostly fine start, them would middle of the week will bring some wet and windy weather and the end of the week will turn colder and some of us will see some snow. this is bbc news. the headlines at 7pm: on the eve of a crucial meeting in brussels — pressure on the prime minister to demand guarantees, before any ‘divorce bill‘ is paid. the risk is that we paid money from the day we leave and that reduces negotiating clout. the entire board of the government‘s social mobility commission resigns — saying theresa may‘s rhetoric isn‘t matched by reality. donald trump hits out at the fbi in a series of angry tweets, claiming the agency‘s reputation is in tatters. a lorry driver who crashed into stationary traffic on the m6 — after falling asleep at the wheel — is jailed for 16 months. also in the next hour:

supermoon rising. skywatchers get their first glimpse of a larger and brighter—looking moon — as it reaches its closest point to earth.