this is bbc news, our latest headlines: more than 200 mps have signed a letter coordinated by labour backbencher david lammy, sent to the prime minister, calling for government promises to windrush migrants to be written into law. south korea says kimjong—un has promised to close north korea's nuclear test site next month and has invited the world to watch. in northern ireland, police have taken two wanted men back into custody after they were found tied up on a bench in a county armagh village. rohingya refugees in bangladesh have been appealing to visiting un ambassadors to help them safely return home. a delegation from the un security council is visiting refugee camps in cox's bazar. now on bbc news it's time for talking movies. hello from new york.

i'm tom brook, and welcome to this special edition of talking movies, when we look back at some of the highlights from this year's tribeca film festival. the tribeca film festival is now in its 17th year. it began, basically, as a civic restoration project to help the ruined tribeca neighbourhood to get back on its feet after the attacks of september 11th 2001. it has grown to become a significant film festival, with a wide range of mainly independent features from film—makers around the world. the festival opened with the world premiere of love gilda, a documentary on the late american

comedian and actress gilda radner. in 1975 to 1980, she was america's sweetheart. she was really probably one of the most famous comedians around at the time. love gilda is a film about a woman directed by a woman, and, as such, was a fitting start to a festival that states it is working towards gender equality in the age of "me too". a high proportion, 46% of the films at tribeca this year, were directed by women. it's great. it is as it should be. co—founder robert de niro was delighted by women's gains at the festival. by generation, things will get better and better and things will hopefully even out. but it's simply increasing the number of female film makers at tribeca going to bring about true gender equality? true gender equality? what we can do, as individuals who work on the festival is make the changes around us, is be the change that we want to see in the world. we have got to try to at least encourage that change

and we will see how far that goes. but clearly our world seems to be open to it now. love gilda was one of some 100 feature films shown at tribeca. the festival's offering extends well beyond films. there were talks, tv series, virtual reality experiences and much more. the virtual and augmented reality section was a big attraction. several projects were designed to get festival goers to focus on real issues, such as climate change and racism. even if they were a bit mind—boggling. well, we had tonnes of amazing experiences, but some to mention are dinner party, a narrative piece that is about a couple in the late ‘50s, early ‘60s that were abducted by aliens. this is based on a true story, they say they were abducted by aliens. it is kind of through the lens of racism because it is an interracial couple. we also have the day the world changed. it uses a lot of new technology to put you in the ruins of hiroshima.

and also to look at our world from a distance, to really understand what and where it has been affected by nuclear war and by nuclear weaponry. some of the exhibits were very interactive, with terminal three, augmented reality technology put me in the position of being an airport immigration agent, interrogating in a muslim passenger who appeared as a hologram, to determine whether or not she should be allowed into the united states. it is an interaction partly designed to help break down prejudices. what is that on your arm? this is a piece of poetry. is that a verse of the koran? no, it's not. it'sjust a persian poet. what the project is really trying to achieve is that once you go through it, you hopefully realise that you might have come across someone with very different ideologies. they might have been a muslim, and they may not have been

a muslim, they may have been very outspoken atheist. but the ideology doesn't matter at the end of the day, when you hear their personal stories. virtual reality is a rather solitary pursuit — just you and a headset. at tribeca, there was an effort to make it a more communal experience, with tribeca cinema 360. that is a 20—seat vr cinema that is showing four curated programmes twice a day. so the idea behind that is to create a space where people can convene, 20 audience members can, in, each with their own individual headset and have these same curated experience. what is the advantage of that, though? because there are actually watching on their own, aren't they? they are watching on their own, but i think even though you are watching on your own and you have your own agency, there is that moment when the programme is over and you remove your headset and you understand that everyone in that room has had the same experience that you have. and it really does foster a conversation, which is exciting to us. one of the documentaries at tribeca this year

chronicles a train journey. not beneath the streets of new york, but a 3—day trip across tanzania in africa. it follows individuals on board the train and looks at the strength to survive. tristan daley reports. a hot and crowded train with hundreds of passengers, travelling across tanzania over the course of several days. this is the setting of the verite—style documentary tanzania transit. the film follows several characters, among them rukia, a woman trying to start a new life after years of trauma. peter, a preacher whose goals may be more monetary than religious. and william, a maasai who was taking his grandfather back to the countryside after a visit in the city. i met dutch—born film—maker jeroen van velzen to learn more about the film. i lived in kenya for a long time,

i grew up there and just living there, i picked up of all these people who had been around me in my childhood and i have always seen these desperate kind of people really fighting to survive and ijust wanted to find a way to combine these stories and bring them together, to kind of show one picture of how tanzania is. and then when i found the train, i thought this is the ideal setting, like a microcosm to have them all together and have, like, a small reflection of the tanzania and society as a whole. describe the production process, were there any obstacles that you guys had to face while filming? i think the most difficult thing was filming in the train. i mean, this train wasjust completely filled with people. like, in the third class, small carriages would be filled with 200, 300 people. taking out a camera with the whole sound crew and everybody there, people were very intimidated by it. we went around and we asked certain people who were living on the train permanently and we told them about how the film, you know, could help them and how to kind

of talk about them as a society, and they trusted us when they started spreading the word themselves around the train and just allowed us to get very close to them and captured these very intimate moments. where are william and his grandfather going? they were actually coming back from the city, going back to the small maasai village. his grandfather saw the city for the very first time. they are kind of coming back from this huge experience of seeing this modern world, which isaya, the grandfather, had never seen before. i mean, he saw two busses and he thought, like, if they had sex, little cars would appear from them. i mean, he had no idea how the modern world work. what is peter trying to accomplish on this train? peter is a commercial preacher.

commercial preaching is a serious problem in tanzania at the moment. i think they are using religion to take money from the poor. they say they can cure any disease, if you are poor, they can make you rich but you have to pay 10% of your income. it is all about money, it is all about profits. so, a film crew following him, it was, in his mind, it was just free publicity, that is why he worked with us, otherwise it is possible to film commercial preachers. he came with me on this train, just did his thing and i was shocked to see how people completely fell for him. rukia was on the train because she is kind of trying to get out of the environment where she is. i mean, she is living in an illegal mining village and she runs

a brothel more or less. and she lives in a very dangerous area and she is trying to get out of this world. so she was on the train looking for a new place to start a new life and to take her family there. your documentary focuses on a lot of personal and intimate stories and it lacks a broader context of east african tanzania. is that a choice that you made? yeah. i think there are many stories to be told and i thought, just to stay intimate with the characters, and then having it in the setting of the people on the train would make their story more broader. i wanted to kind of show that, i wanted to show a quite struggling dark world, but also showed the positiveness, the strength behind these people, and finding these characters on this train, i thought it would be a great way to bring them together. 0ne film with a lot of buzz at tribeca this year

was united skates, a look at the vibrant african—american roller—skating subculture that is now under threat. 0nce thriving roller rinks are now dwindling, partly because of real estate profiteers. the black roller—skating scene is fully explored in this new documentary, as nadja thomas reports. as you go across the country, you will find if it is a popular rink or if it is a really thriving rink, it is because they have a really strong african—american skate community. at night and out of sight, an underground roller—skating dance subculture has lasted in america for generations. the film united skates takes us into the world. everybody has got their own style, their own music. every city or state has a different skate style and a different flavour. some skaters make their own custom

skates, meaning they take a sneaker or a boot, any sort of shoe you would wear out on the street, or to church, and they put wheels on it. so we have seen some crazy skates out there, even cowboy boots with wheels on them! it's really fun to see the skaters express their personalities through their roller skates. these mostly african—american skaters gather at colourful and eclectic late—night skate parties, typically called adult night. they skate and dance from night—time until the early hours of the morning to the songs of hip—hop and r&b music. this is real underground. we skate from, like, 12 to 5am. so when the city shuts down, we just get started. though the adult night party scene is a vibrant, fun—filled event, the film—makers see the history of how the night came to be is not as thrilling. so, during the time of the civil rights era, a lot of spaces in the us were segregated, and once integration started being forced on this basis, white flight began to happen.

and roller rinks who saw this trend and saw what was happening said, how do we keep our nights segregated without legally saying that they are called white night or black night any more? the solution many rink owners came up with was to use codenames for when black skaters should attend. so they started targeting the different communities differently by calling their nights martin luther king night or soul night or white nights would be family night or top 40s night. if the black clientele came on one of the white nights, they would tell them they didn't have the right size skates. they would hire people to trip them, harm them, make them leave, and if they fought back, they would say, see, when african—americans are in this space, there is violence, various trouble, even though it was being acted upon them. and so it basically kept from early on the two nights separate. but it did notjust the rink owners that these skaters

have to contend with. in the film, a heightened police presence and increased security can be seen on adult night. the film—makers think this may be a bit excessive. one of the rinks we did focus on in la, skate depo, the rink owners told us in the 30—plus years that he has been in business, and the five million—plus skaters he has had through his establishment, he has had a handful of incidents that have happened. and so that does not warrant the police presence that was at the rink. so i think it comes down to them at seeing a large group of african—american people together at an event at night and thinking something is going to happen there that is obviously not. while these alleged micro aggressions threaten to dsicriminate

against some skaters within the brink, efforts have constituted to the closure of these establishments, often replacing them with more profitable businesses like coffee shop chains. as a result, the skaters have had to refocus community spaces like this one in order to keep the culture alive. though the documentary highlights the difficulties of keeping adult night alive, it also shows the creativity and ingenuity of african—american skaters across america. one of the big attractions at tribeca this year was the centrepiece film called zoe, starring ewan mcgregor and lea seydoux. it is a sci—fi romance involving an entanglement between a man and a synthetic woman. it comes from a film—maker who is very interested in love and relationships — drake doremus. you have made a lot of progress. his biosystems for processing food are up already. i am sure he is going to be ready for the tech summit, i am sure of it.

the love affair in this film emerges from within an enterprise called relationist labs. it is the story of the romance between a robotics engineer, played by ewan mcgregor, and zoe, a robot he has created protrayed by lea seydoux. zoe believes she is human, she does not know she is a robot. i think she wants to be loved, that is very simple. and she finds out that she is not human and, for her, it is completely, it feels wrong to her because she feels so deeply for this man. i have given him something called emotional packets. they are real memories about emotional events. the film is exploring the idea of having a perfect partner. the synthetics, the robots, are designed to be just that, to never fail or abandon you. with emotions, we start with the physical. and we build inwards, see? in the commercials in our movie, they say, you know, they can know you better than any human

being could ever know you. because they are programmed to do so. and so they become absolutely what you need, what you need out of a relationship is what you get from one of these synthetic people. so they can become perfect romantic companions, in a way? that is the idea. but of course, the film examines if that is really achievable, and is that actually something we would want in the end? i mean, it is, in actualfact, our human flaws and what makes us real and what makes love real, you know, the fact we fail each other and we forgive each other and we learn from each other? hello? hey... in 2011, zoe's director drake doremus made a name for himself with his acclaimed low—budget romantic drama like crazy. it is an examination of a romantic relationship, subject matter doremus regularly deals with in his films.

for me, i think is so fascinating, the idea of having love, finding love, losing love, maintaining it. all those different intricacies are so precious and so delicate and i think it isjust so fascinating, there are just so many different ways to look at it through different prisms. so every film i make, i am just trying to look at it from a different perspective and shift things a little bit. and with this film, what kind of comment is it offering on love and on relationships? hopefully that if you believe in something, anything is possible. i think it is a really positive film, i think it is one of the most positive films i have ever made and i am really proud of that because i feel like i'm in a place in my life where i am starting to find peace and happiness and the film is reflecting that. it is very interesting to find a film—maker that is so interested in this part of life, but i think it is like a very important part of our life, it is maybe the most important part, our love life and our romantic life and it is the bedrock for everything.

so i think it is really key. zoe is a well—acted picture, and thought—provoking. but some critics at tribeca felt it fell short of other more celebrated films that have tackled similar subject matter. film—makers from around the world came to tribeca this year with their full—length features and each one was given a proper premiere. what is it like as a director to come to tribeca and spend a few days in new york with your film? well, to find out, we followed film—maker pj raval who was in town with his documentary. so, i have definitely overpacked. i am at the airport and, kyle, the filipino lift driver has been excellent. all right! company. so, my name is p] raval and i am a film—maker from austin, texas, and i'm in new york city to premiere my film at the tribeca film festival. here we are, walking in new york. oh, my god, it is so cold. my film is called call her ganda,

which is a feature length documentary about the events that surrounded jennifer laude, who was a transwoman in the philippines who was discovered dead in a motel room with the leading suspect being a us marine. and the story caught a lot of attention when people realised that the filipino authorities are not allowed to detain him or try him without the permission of the united states. and this is all under an agreement called the visiting forces agreement. it is quite an honour to be screening the film here. tribeca is known as one of the best film festivals in the world, known for having some of the most amazing audiences, so i am really excited. i have been working here in the united states, a lot of the subjects are in the philippines. the producers are all over the place. it will be great to reconnect with everyone and celebrate our accomplishment. ok, i am getting ready

to leave for the world premiere of call her ganda. you can see behind me, there is myjacket for the evening. very important. and on this side, if you want to know what a world premiere looks like, you can see that i have handwritten some notes on who to thank, because this is a moment that i definitely do not want to mess up. here we go! here we are on the red carpet. and that is virgie suarez who came all the way from the philippines. yeah, the response to the film has been amazing. the 0&as have been really great, the subjects are very happy with it. some people in the audience, even some of our subjects have got very teary eyed. so i think it has touched people in a lot of different ways. who would've thought that a transgender case would bring in issues that are a lot larger than just a transgender case. and i love that it was framed as a neo—colonial, imperial type of story.

i love how this is in tribeca. super famous. we are also in interested is not only screening the film and premiering the film, but really thinking about what the potential impact of the film could be. so on monday, we had what we call a brain trust, which is one way to think of it, it is almost a collective brainstorming. and we invited several different activists and organisers, thought leaders, to get everyone into the room and collectively brainstorm on how can this film be used for something concrete. like, can it change legislation, can it create new organisations? and what was really cool is we did one here in new york and we also did one simultaneously in manila and also through video skypeing, we had a couple of people

in from los angeles and dc. and it is really exciting right now to be releasing it out into the world. and along with releasing it out into the world, it is giving the film to people like you. the film has its own life, it is its own entity, and i feel like the brain trust was seeing it take its first steps, if that makes any sense. like, it walked away from me. and already, just getting everyone in the room was already creating some kind of change. it has been an amazing past few days, and the screenings have gone better than i could have expected. the brain trust was amazing. i will see you again. bye. that brings our special tribeca edition of talking movies to a close. we hope you have enjoyed the show. and you can find us on facebook too. so, from me, tom brook,

and the rest of the production crew here in new york, it is goodbye, as we leave you with this montage of clips taken from this year's tribeca films. some very wet and windy weather on the way to start the week for south—east england and east anglia and parts of east anglia see over one months worth of rain in 2a hours. today there have been brightness and sunny spells and the best start to the north and west. this is a picture from inverness. this is a picture from inverness. this photo is from east sussex. the wet and windy weather is courtesy of the low—pressure system coming up the low—pressure system coming up the south and it will bring with it heavy rain and we are looking at strong winds as well. heavy rain, strong winds as well. heavy rain, strong winds, potentialfor disruption to travel. also a possibility of localised flooding so stay tuned to your local forecast, particularly through tomorrow morning. tonight the rain pushes

north and west into south—west england and east anglia and there are heavy bursts, perhaps falling snow over high ground and we will see the wind strengthening as well. coastal gales by the early hours. away from that it will be dry with clear spells and we will see the wind strengthening as well. coastal gales by the early hours. away from that it will be dry with clear spells and we're looking at a chilly night with temperatures below freezing in a few spots and a touch of frost to start the day tomorrow. in the south and east it will be wet and windy. i gusty wind of over 50 miles an hour in a few spots as possible. heavy rain is going to work north and west as we move through the day and it gradually pushes into the east midlands and parts of yorkshire and lincolnshire as we move through the day. it could fall a three—time snow on high ground but it is not likely to settle. temperatures are drier and brighter with sunny spells. as we

move through monday night and into tuesday the area of low pressure clears off and we are looking at a brief ridge of high pressure so many of us have dry and bright weather and it is not long until the next area of rain moves into the west. we start of tuesday with light rain and drizzle in the east and it will clear away quickly and brightening up clear away quickly and brightening up with sunny spells but the next weather front in the west brings wet and windy weather into ireland and scotla nd and windy weather into ireland and scotland as we move through the day. temperatures in the south—east are much up on what we are looking out for monday and a maximum of 1a. that is your forecast. this is bbc news. i'm anita mcveigh. the headlines at 5:00pm. labour's david lammy leads 200 mps who've signed a letter calling for government promises to windrush migrants to be written into law. kim jong—un promises to close north korea's nuclear test site next month, and invites the world to watch, according to the south. police in northern ireland have

taken two wanted men back into custody after they were found tied up on a bench in county armagh. also in the next hour, how to protect one of the world's treasures from pollution. australia is promising to spend £290 million to help restore and protect the great barrier reef. and celtic win the scottish premiership with a thumping 5—0 win over rivals rangers.