is fantastic : fuming it"ui‘ii ; ff: ullfltsll t ll'uflll 77 {wry at; it is fantastic that everybody has come here today to enjoy themselves. yesterday we had about 130 arrests, but we are very happy with the policing plan. this year what has been brilliant is the role of the organisers. they have wanted to take carnival back to its roots and they have put a lot of community stewards out, working with our officers, and the combination of that has been brilliant. that will be unsettling for a lot of people, has it been helpful? it has been unhelpful -- helpful, yes. we know the community is worried about violence on the streets of london and we wanted to, in the policing plan, do everything we could to reassure people it is safe and wonderful to go to carnival. as well as different officers, mounted branch and dogs and plainclothes officers, we are using screening arch is to detect knives and other weapons people might bring to carnival. a huge

policing presence, many thanks. huge policing presence, many thanks. huge policing presence, many thanks. huge policing presence today and the event policing presence today and the eve nt co m es policing presence today and the event comes to an end peacefully at 7pm tonight. thank you very much, we will check in with you later in the afternoon. it looks a little bit overcast, not as sunny it looks a little bit overcast, not as sunny as it was earlier. let's have a look at the forecast. now it's time for a look at the weather. good afternoon. dry weather, sunshine and some showers. there will be some showers this week but a warm appeal. the afternoon ends on a largely dry note which i was fading away to be the evening. overnight, we could see patches of cloud and mist and fog at italy across the southern half of the country. extra cloud and northern ireland and western scotla nd northern ireland and western scotland and a strengthening breeze head of parade band which pushes its way in as we go through tomorrow. not making much progress, the

western side of northern ireland and the far west of scotland. eastern scotland, england and wales cricket board largely dry day with large areas of cloud. some spells of sunshine and temperatures at best between 17 and 21 degrees. we will see reigning places on wednesday, perhaps across the south east. at the end of the week, it is mostly dry with spells of sunshine. hello, this is bbc news, with sean ley. the headlines: the united nations says military leaders in myanmar should be investigated for genocide against the country's rohingya muslims. food prices are expected to rise in the coming months, as farmers feel the effects of this year's extreme weather. a mother and her daughter have been stabbed to death in the street in solihull, in the west midlands. now on bbc news, it's time for ‘talking movies'. welcome to this special

hollywood and race edition of talking movies, i'm tom brook. in today's programme, we'll be focusing on how the american film industry is dealing with the issues of race and diversity. spike lee speaks. a look at blackkklansman, the latest picture from the legendary black filmmaker. america first. this film is about today and we live in a very, very serious time in this world. does it matter that most film critics are white and male? does it have a negative effect on diversity in cinemas? it's about not only having one narrative. that goes in terms of filmmaking, it goes in terms of acting, it goes in terms of film criticism.

and asians — long underrepresented on the big screen — now have crazy rich asians, the first major asian—led studio film in 25 years. so, is the drought now over? we have such a treasure trove of interesting stories to be told, with equally as powerful new actors. and we look at the state of portrayals of native americans in hollywood cinema. why won't the old stereotypes fade away? nothing of any substance is going to change until you have the native people writing the stories and directing them. plus, a report on the new wave of black stories and black characters that have been moving into cinemas. i think black panther changed the equation because it made executives see there was international value in black films. all that and more in this special hollywood and race edition of talking movies.

leading african—american filmmaker spike lee is back this month with blackkkla nsman, a period film which relates very much to the present—day. this politically—provocative picture has been getting excellent reviews and it marks a real return to form for the director. i'm happy to be talking to a true white american. god bless white america. the central character in blackkklansman is a real—life figure, ron stallworth, a black police detective who infiltrated the white supremacist group the ku klux klan in colorado springs in the 19705. he did it by striking up a relationship with klan members by phone, then a white surrogate police officer, a colleague, stood in for him in face—to—face meetings. ron stallworth was modest about his accomplishments at the film's new york premiere. infiltrating the group, penetrating them was very easy

because they didn't take time to recognise the signs that something was not right. you had two different voices talking to you, one in person, one on the phone, and they didn't recognise that they were being had. it wasn't difficult at all. you for the white race, ron? oh, hell, yeah. so it becomes a combined... both: ron stallworth. can you do that? with the right white man, you can do anything. spike lee was drawn to ron stallworth's story for many reasons, he was certainly impressed by him as a man. courageous, heroic. i mean, the klan don't play, they kill people, they murder people, which are acts of terrorism. homegrown terrorism. so, to do that back in the ‘705... i mean, it was no picnic. a key klan member scrutinised in the film is its former grand wizard, david duke, a pivotalfigure in the organisation. actor topher grace

portrays david duke. thank you so much for never putting your country second. the first half of the film really shows more of what the modern—day idea of racist was at the beginning of the ‘70s, kind of beer belly, redneck dude. and then david, the most evil thing about him, he's really brilliant, he figured out a way to put a different face on racism. america first. all: america first! duke is heard using words that president trump has also uttered. throughout lee's film, there's connections to be made with events in the 19705 and the present—day, most notably when the film transitions from a fictional ku klux klan rally in the past to a very real protest in charlottesville a year ago, when white supremacist groups clashed violently with counterdemonstrators. it was a day that resulted in the death of heather heyer, struck down when a car drove into a crowd. the film is quite provocative

in a way, do you feel it could really entrench people, in terms of their opinions rather than bringing about enlightenment? i've done my part and we'll see how the world sees it. this film is about today, and we live in a very, very serious time in this world. many people who've seen the film felt this was just about the united states of america. this is about the global rising of the right, notjust the united states of america. spike lee's film marks a triumph for him as a director. it's seen as his best movie in years, and his first picture in a while to have become part of the cultural conversation. stallworth brothers. we're on a roll, baby! with critically—acclaimed films like blackkkla nsman and megahits like black panther, it's been a noteworthy yearfor black cinema. more modest undertakings with black

characters and black stories have also been doing very well, as tristan daley reports. with months still left in 2018, this year has already seen the release of several films with black leads. a number of these films deal with real issues facing black people in america, but with creative flair. you don't talk white enough. like this young blood. hey, mr kramer, this is langston from regal view. i didn't catch you at the wrong time, did i? there was sorry to bother you, a satire about a telemarketer dealing with problems of race and capitalism in a wacky alternate universe. in blindspotting, colin, played by daveed diggs, tries to stay out of trouble on his last days of probation in his rapidly gentrifying hometown of oakland in california. even though this isn't a musical film, characters in the movie rap. every time you come around, you monsters got me feeling like a monster in my own town. diggs, who co—wrote the film,

says although this project is a comedy, it doesn't shy away from real—life circumstances. we describe it as a buddy comedy, in a world that won't let it be one. ourfilm's protagonists would love it if it's an escapist movie, but that's not the world we live in. it takes a buddy comedy trope, and doesn't ignore the circumstances real people live in, and this is what we get. i wanted to actually find my dad's address. anotherfilm, night comes on, also deals with the circumstances of real people. it follows angel, who has recently been released from juvenile detention and goes on a journey to see her estranged father. while the film doesn't deal directly with the race of its main character, the lead, dominique fishback, is happy to play such a developed role. opportunities like this are few and far between for black actors. it's a real, true character study, which i think is what i dreamed of doing when i was younger, and now to be able to be a person and live as another person, and this film is for people

who wanna know about human relationships and experiences. while some black filmmakers rejoice at new creative opportunities, executives are more concerned with the prospect of financial gains. industry leaders in hollywood have long maintained black stories don't sell as well at the box office as their white counterparts. however, 2017's get out and this year's black panther have already poked holes in that line of thinking. earlier this month, blumhouse productions premiered blackkklansman. the company's ceo, jason blum, believes that the recent successes of black screen stories are changing the minds of film executives. there's always been this myth that black films don't do well overseas. i think black panther changed the equation because it made executives see that there's international value in black films, which they'd never really accepted until black panther. while there are those that

celebrate this moment, others are not so ready to rest on their laurels. at the moment right now, it feels like we're having a critical mass of films that deal with issues important to black people, but that's actually a shame. three orfour movies in a summer actually is not... that shouldn't be a movement, that should be common practice. every few years, it seems audiences are teased by an increase in the number of films that push the envelope in terms of diversity and creativity, but soon after, periods of complacency follow and executives forget the benefits of inclusivity. many hope industry leaders remember lessons from the 2018 season as they plan their future productions. i'm a tough guy! nowadays, diversity on screen — or the lack of it — is being closely monitored and there's also scrutiny on those evaluating films. a recent us survey found the vast majority of film reviewers were white and male. what does this mean for diversity in cinemas?

well, emma jones has been finding out. i have never seen anything like this. how much more are you hiding? those who criticise for a living are now dealing with a dose of their own medicine. visible diversity on screen is one of the direct results of the oscarssowhite campaign. now questions are being asked about why the status quo prevailed for years. they all think that you and me are planning some kind of uprising. the people need a sign for them to believe in their own strength. jessica chastain, who recently starred with native american actor michael greyeyes in woman walks ahead, has been a vocal critic of the critics and their own lack of diversity, even as they reported on the uproar in hollywood. it's about not only having one narrative. that goes in terms of filmmaking, it goes in terms of acting, it goes in terms of film criticism, which i think is a major problem and no—one seems to be talking about it.

that when you have 90% ofjournalists are from one demographic, they're the ones telling an audience what is worthwhile to see. if we're creating diversity in filmmaking, we also need diversity in that point of view. so, is she right? here in london, this is a press screening for spike lee's blackkklansman. it's not completely white and male, as you'd hope for the hotly—anticipated work of a successful african—american filmmaker. but a survey this year by usc annenberg found that the make—up of reviewers of 2017's 100 most popular movies on the site rotten tomatoes was just under 80% male, 67% white male and just 2.5% non—white female. the major arguments against pale, male perception of film criticism is this — it no longer reflects the kind of societies that we're living in, never mind the kind of films that

audiences increasingly want to see, and hollywood actually wants to make. but criticism come awards season is notjust an art, it's business. critics wield immense power to reward, and historically, performances from black, asian and minority ethnic groups have been overlooked. you might have a film, like, for example, get out, and that's a hugely popular film and a lot of critics liked it and a lot of white critics liked it, but it was really the black critics, the few, who championed that film, who said, for example, that daniel kaluuya was an outstanding chance for an oscar nomination. i remember when i first said that, a few people laughed, but on the kind of films where you're seeing a lot more black characters, they're the more kind of arthouse films, the oscar films, and they need a lot of help and a lot of nurturing, and they need people to support them. for example, moonlight would never have been a success unless it was a big group of african american critics in america who really got behind it.

and from that, it created a snowball movement and a crescendo, and the appreciation of that film grew and grew. idris elba may be hotly tipped as the nextjames bond, but this is his directing debut, yardie. when i was a boy, my brother would always ask me, "which way you gonna go?" it premiered at this year's sundance film festival, and is the fictional story of a young jamaican's rise to the top of the drug—dealing london underworld. the original book sold purely on word of mouth, and the film probably needs the same championing from critics. it's a very nuanced world, and the language dictates a lot of the world. so i do think critics that can help other critics into an understanding of things is great. but that's not to say, though, that i can watch a movie that i've got no association with culturally and have some kind of embrace towards it. ultimately, film criticism suffers from the same problem as film direction — there are only a few jobs at the top.

it took deliberate intervention to put someone like ava duvernay in charge of a blockbuster like a wrinkle in time. initiatives are under way in many critics' circles to at least make room at the bottom, but how long until these critics manage to clamber to the top? asians are woefully underrepresented in hollywood films, but that may change this week, with the release of crazy rich asians. it is the first major movie to feature a largely asian cast in a contemporary story. like queens? singapore. crazy rich asians, inspired by a bestseller, tells the story of rachel, a chinese—american professor in new york who travels with her oxford—educated boyfriend to meet his family in singapore, where he was born. there, she discovers to her amazement that

he is singapore's most eligible bachelor and heir to a massive fortune. she thinks you're an unrefined banana. yellow on the outside, white on the inside. henry golding sees the film as breaking new ground. it really opens the idea to not only the studios, but to audience members around the world, the fact that, as asians, we have typical stories like what we've been seeing in cinemas so far, these love stories, and that we have such a treasure trove of interesting stories, with equally as powerful lead actors, waiting to be told. asian—americans who went to advance screenings of the movie premiere in new york responded positively, viewing it as validating. i've lived here my whole life, though i was born in china,

and i've never seen a film that has such an asian cast portrayed in such diverse ways and so glamorously. being able to have visibility to all the asian actors, it is really good to see them on screen. don't you want nick to be happy? i know you are not what nick needs. crazy rich asians stands in stark contrast to most hollywood films, where there is a dearth of asian stories and characters. a report has found that among recent top hollywood films, asians represented around less than one in 20 of all speaking characters, and often the asian characters who do appear onscreen reinforce negative stereotypes. through the history of america, lots of the stories told with asian or asian—american characters, and they are put easily into boxes, like these stereotypes of kung fu masters or, like, china dolls, or dragon ladies, orjust being sidekicks or being effeminate males, that is something that i think was set very long ago.

crazy rich asians tries to deliver more rounded, authentic depictions of asian men and women. to have these characters who have so much depth to them, who have a strength to them and are very much human, and not just token characters in the film, it is just going to be so important for a lot of asian women. crazy rich asians has been the target of some protest. there were complaints that the leading man, who has a white british father and malaysian mother, wasn't "asian enough" for this asian—led film. there's also been some criticism over the representation of singapore in the film, that the local malay and indian populations have been ignored. for the criticism that there are not a lot of brown figures or actors or people from malaysia or india in the film — absolutely, there isn't enough. there should be more of these films to be able to represent everybody.

but, again, this is a step in the right direction. crazy rich asians has been a hit at the us box office and it is hoped its success will lead to more asian led films in future — a sequel is already in the pipeline. its release has been described as a watershed moment for asian representation. in recent years, there has been some improvement in the representation of people of colour by hollywood, but one group has been left behind, native americans. they have been appearing in films since hollywood's early days, but their representation on screen hasn't really evolved. hollywood has always relied on the native american. in its early days, the western was film's most popular genre, the cowboy its iconic hero and the indian its most reliable villain.

native americans were threats, they were the enemy. the true story of native americans in the united states is one of marginalisation, poverty and extreme oppression, and the movies have done their part to support this — depicting them as at best props in a white man's heroic story, or at worst an antiquated race of people needing to be pushed aside. films that are made are what i call white saviour films. indian people, there might be native actors in them, there might be roles for native people, but they are not written and directed from the native perspective, and they are not our stories. it supports this idea of indians as victims. it's a very narrow perspective. if the stories themselves are narrow, the casting is even narrower. for decades at a time, it seems that most native american characters are only played by a single actor.

following his performance as kicking bird in the oscar—winning dances with wolves, graham green was called upon to play natives in numerous subsequent projects. more recently, adam beach and wes studi have dominated those types of roles. it seems that for years at a time, one major native american actor gets native american roles in hollywood films, for years and years at a time. what does this tell you about how hollywood sees native americans? if there is one star within a community, that person has space as a star. i think it is important that we do have stars in our community because they are people that we aspire to be, which i think is very significant. i think it is a problem that there aren't more roles being written for a wider spread of native folks, and ultimately, i think they are being written, i think it is that they are not being produced. native people being able to imagine whatever they want to be in a film with native crew and a native director, then suddenly our potential expands dramatically.

need a ride? you bet. what are you going to trade for it? we're indians, remember. we barter. while representation remains a hot issue in hollywood, native americans are still not seeing the kind of progress that other people of colour have fought for and achieved. there is no native american black panther or crazy rich asians on the horizon. recent films featuring native american characters, like wind river and hostiles, while largely endorsed by critics, failed to meaningfully revise the white saviour stereotype. nothing of any substance is going to change until you have native people writing the stories and directing them and telling them from that perspective. there are a handful of people who have gotten that opportunity, not too many. i go back to smoke signals — which also, by the way, is an example of people saying, well, native projects cannot pay for themselves.

that's actually not true. they can pay for themselves if they are promoted properly like anybody else's work is, which smoke signals was. why can't you have a normal conversation? you're always trying to sound like some damn medicine man or something. i mean, how many times have you seen dances with wolves? 100, 200? ah, geez, you have seen it that many times, haven't you? the marginalisation of native americans runs deep throughout american culture. movies are only part of the problem, but with their power to reshape lives by influencing millions, they could be a large part of the solution. well, that brings this special hollywood and race edition of talking movies to a close. we hope you've enjoyed the show. please remember, you can always reach us online. and you can find us on facebook too.

so, from me and the rest of the new york production team, it's goodbye, as we leave you with this montage of clips from films we discussed during the show. music: "ball of confusion" by the temptations good afternoon. it's not a bank holiday everywhere today but, in those places where it is, i think this is the day when the weekend redeems itself weather—wise. after the rain yesterday, which was brought by this area of cloud, that has slid away to the north east. still a fair amount of cloud feeding in on a westerly breeze and some showers around, but if you're lucky, some spells of sunshine for the rest of the afternoon. and through this week, we won't see an awful lot of rain and it will be warmer than it has been over the last couple of days. through the rest of the afternoon, generally fairly large areas of cloud, but sunny spells

and drizzly showers especially affecting western areas. temperatures — eastern parts of scotland with brightness, 18 degrees, maybe 19 in parts of central areas. cloud thick enough to give drizzle at times and a similar story across north west england, wales, perhaps the south—west. but the cloud is quite broken and, towards the south east, sunshine lifting temperatures to 20 degrees. this evening and tonight, the cloud melts away for a time, but we could see areas of low cloud, mist and fog across the southern half of the country. further north and west, the wind strengthens with extra cloud in northern ireland and western scotland where the skies stay clear from aberdeen towards newcastle, a relatively cool night. into tomorrow, a very similar day to today in many areas with a lot of dry weather, spells of sunshine, but generally fairly large areas of cloud

and perhaps some patches of early mist and fog to contend with. through the afternoon, the wind strengthens bomb —— in northern ireland and scotland ahead of an approaching band of rain. temperatures ahead of that, 17—21d. this rain band associated with a cold front slides across northern ireland and scotland on tuesday night, brisk winds across northern areas. also for wednesday, a little area of low pressure trying to spin up from the near continent which could introduce showers across southern and south—eastern areas. a lot of uncertainty about that. all the while, a lot of dry weather and spells of sunshine, and those temperatures around 17—21d. and towards the end of the week, again, it will be mainly fine. there will be some spells of sunshine, and temperatures generally in the high teens, or low 20s. this is bbc news, i'm sean ley. the headlines at four. the united nations says military leaders in myanmar should be investigated for genocide against the country's rohingya muslims. food prices are expected to rise in the coming months as farmers feel the effects of this year's extreme weather. a mother and her daughter have been stabbed to death in the street

in solihull. also this hour: the building boom fuelling the uk's obsession with online shopping. with almost one in five sales now made on the internet rather than on the high street, warehouse space has doubled injust a decade. and in half an hour, bbc world's luis fajardo examines controversial plans to create privatised cities in the impoverished central american country of honduras.