rain the further south you seeing rain the further south you are in the uk. you may not see enough for your gardens, some will see hardly any. next week, a spell of cooler, unsettled weather for a time. it looks like by next weekend, high—pressure building back in and it's starting to warm up from the south once again. we will keep an eye on those prospects. that is your latest weather so let's look at how the rest of this bank holiday weekend is shaping up.

hello, this is bbc news. the headlines: another two cabinet ministers, matt hancock and rory stewart, enter the race to become the new conservative leader and prime minister.

president trump arrives injapan for the start of a historic four—day state visit. universities in england are told not to ‘scaremonger‘ over finances as a review is expected to call for them to reduce their tuition fees by nearly £2,000 per year. rules allowing homeowners to build extensions in england without planning permission have been made permanent. more news and sport 2pm. now on bbc news we're heading to cannes for the world's most prestigious film festival. it's talking movies with tom brook. hello, from the french riviera and welcome to this special edition of talking movies. i'm tom burke. we

look back on the highlights of this yea rs look back on the highlights of this years cannes film festival. 0ne one of the biggest events in cannes during the 12 days of the festival is the unveiling of the new quentin tarantino film, is the unveiling of the new quentin tara ntino film, 0nce is the unveiling of the new quentin tarantino film, once upon a time in hollywood starring leonardo dicaprio and brad pitt. it was thought the film wouldn't be ready in time for the festival, but it was, and it an impact. it is hard to overstate the sight of anticipation surrounding theresa 0nce anticipation surrounding theresa once upon anticipation surrounding theresa 0nce upona anticipation surrounding theresa once upon a time in hollywood, it was the film of the festival, set in hollywood 1969 it is a buddy movie, central to the film is the relationship between a fading tv western cowboy played by leonardo dicaprio and the stuntman, cliff

booth, betrayed by brad pitt. the actors found it easy to work with one another. it was incredibly easy. incredibly easy working with brad. and i think we, together, forged a great cinematic bond, and a film about our industry together. it's the thing of knowing you've got, you know, the best of the best oi'i got, you know, the best of the best on the opposite side of the table holding up the scene with you. and there is a great relief in that. it's official, old buddy, i'm a has—been. it's official, old buddy, i'm a has-been. we follow rick and cliff in 1969 los angeles, recreated with a wealth of pop culture details. in a wealth of pop culture details. in a meandering plot we discover that rick's neighbours include roman polanski and sharon tate. in the backdrop is threatening presence of the charles manson murders coach who made headlines with the slaughter of sharon tate. how charles manson

mesmerised his followers and intrigues quentin tarantino. how he could get these girls, these young boys, to adjust submit to him, it seems unfathomable. and the more you learn about it, it makes it even more obscure than the more you know. the impossibility of being able to truly understand it is what causes this fascination. tarantino displays this fascination. tara ntino displays masterful techniques throughout, the film is extremely well shot, the director no stranger to screen violence delivers towards the end of the movie with a brutal repugnant sequence. it's probably fair to say that this picture is being overpraised, festival goers were really on the lookout for a hit they could embrace. for all its style and twists and turns there's not a lot of substance in this picture. it's giving tarantino of substance in this picture. it's giving tara ntino fa ns just of substance in this picture. it's giving tarantino fans just what they want, a fresh instalment of his unique brand of off—kilter screen entertainment.

no other american film got as much attention at cannes as the tarantino movie, but they are wherever us offerings from zombie firms to references to old to die young. they carried a sense of loss of order in society, emma jones explains. flesh eating zombies. don'tjoke, it's creepy. the zombie apocalypse was the scenario for the opening night at this years cannes. the dead don't die brought the end of the world to small—town america. this isn't going to end well. residents become zombies and stagger around crying for the things they miss most. coffee! but is this a cry of anguish from hollywood about the state of society it's supposed to reflect, as

well as entertain. i think hollywood sometimes makes a movie that people don't see the wisdom of four years. sometimes they make movies that are late, you know, should have been made ten years ago. if you can have the perspective of not judging if you can have the perspective of notjudging it by the week it came out all the year it came out, you can see the value of all these things. i think this movie is quite valuable. quentin tarantino and this from a site there was little sign of life in hollywood itself. flesh came in the shape of angry birds two, the sequel to a film that made nearly $400 million at the box office, and with a budget to bring in talent to promote it. there is no doubt about it, the cannes used to be packed with billboards, and they was the danger of being run over by a tangle step done by a star wars storm trooper. studio spent lavishly on

publicity. last year's awards season success publicity. last year's awards season success of black's clansmen shows that an american film lodged at good cannes can go all the way to the oscars. they are often edgy and unexpected. this year's a tip is the lighthouse which has garnered five star reviews, the famous film star and independent credentials could be the perfect hollywood collaboration. now let's move on to british cinema at cannes this year, where there was at cannes this year, where there was a notable presence, most significantly with the world premiere of the eltonjohn film rocketman. it was produced by an american studio. this musical fa ntasy american studio. this musical fantasy is a celebration of out and john, warts and all. i'm not the man they think i am at all. no, no, no. i'm rocketman. rocketman couldn't have gone over

better at cannes, elton john rocketman couldn't have gone over better at cannes, eltonjohn and taron egerton performed a celebrated duet after the premiere. i'm just a fat boy from nowhere, and i get to be a sung man. you've got to kill the person you were born to be in orderto to kill the person you were born to be in order to become the person you wa nt be in order to become the person you want to be. the film, which is elton john because life story with songs, attem pts john because life story with songs, atte m pts to john because life story with songs, attempts to tell all including struggles with sexual identity and drug abuse. the sounds shine. taron egerton did hold his own singing and find it daunting to be out elton john hits. i prepared by being with him, largely. and having that wonderful privilege of being able to know everything, because you really can ask him anything. he is so much fun. he will tell you everything. and ina he will tell you everything. and in a promotional studio sanctioned interview for the film eltonjohn sanctioned interview for the film elton john described sanctioned interview for the film eltonjohn described how impressed he was by taron egerton‘s performance. not only did he have to perform my

life, he had to sing my life. and that's a double whammy. and when i look at him, singing, and when i look at him, singing, and when i look at him acting, i am not looking at taron egerton, i'm looking at me. director dexter fletcher maintains that eltonjohn director dexter fletcher maintains that elton john and director dexter fletcher maintains that eltonjohn and his husband who we re that eltonjohn and his husband who were producers of the film gave cast and crew free rein in their betrayal. rocketman is an authorised version of eltonjohn‘s life. director ken loachis of eltonjohn‘s life. director ken loach is a british perennial at cannes, over the years the social realist film—maker has chronicled the challenges of the working class and had 14 films in competition, he's won the top prize twice. now at the age of 82, he has directed sorry we missed you, the subject matter beams some likeness to his last film, i, daniel blake, betraying a man famous by the welfare system. the new picture evolves only

working—class newcastle family where the parents are victims of the greek economy. they work on contract, seemingly as independent agents, with none of the benefits of conventional employment. the police, they are in doubt because things fell apart during the banking crisis and the house fell apart. so they are struggling to get out of debt and dad sees what he thinks is an opportunity to be an independent van driver, because he understands that can make money. don't give me a ticket! their father being an independent van driver for a delivery company brings tremendous pressure, incredible stress on the job and long hours, which have an impact on his family. his wife is also overtaxed, providing in—home ca re also overtaxed, providing in—home care for the elderly on a contractual basis, working all hours of the day. i'm doing my best. your best isn't good enough, is it. no, it's not, is it. no. ken loach has a long career

making movie since the 19605 and now has more than 30 feature films and documentaries and his belt5. you have had an incredibly prolific career as a director, will this be your final career as a director, will this be yourfinalfirm? i don't know. i ratherfoolishly 5aid i don't know. i ratherfoolishly said that, two or three films ago. i am up to my knees in water in an irish bark and i thought, i'm wet through, i'm not going to get through, i'm not going to get through another one of these. i said that would be the last one and it's dogged me ever since. that would be the last one and it's dogged me ever5ince. i'm that would be the last one and it's dogged me ever since. i'm not saying it now. i don't know. i don't know. i take each game as it comes. sorry we mi55ed you has moments of heartbreaking emotion, it is both a piece of cinema and a damning critique of the gigabyte economy. british actors could also be found this year in littlejo, a film from je55ica hausner. she has a sci—fi

horror film that touches on fears about parenting, corporate control and the limits of science. bbc culture because michael rebecca lawrence reports. we are entering a new era. the first mood lifting antidepressant happy plant. imaginea plant. imagine a female frankenstein. that's the idea that inspired this film starring emily beauchamp a5 alice, a scientist who instead of making a terrifying humanlike creature breeds small, scarlet flowers, genetically modified to make their owners happy. alice works for the corporation with fellow breeders bella and chris, played by ben michelle. she brings one of her flowers home for his son, joe, and christians and zeta littlejoe. but is this tiny plant benevolent, or more sinister? the starting point was that i wanted to make a story about a female frankenstein. and i was interested

in that because frankenstein obviously wa5 in that because frankenstein obviously was a scientist who created a monster. and the character, airless, is a scientist, and she creates a monster. a sort of monster, a red flower. but she creates another monster, if you want, which is her child. it's a lot about the ambiguity of her motherly love. and her focus about the ambiguity of her motherly love. and herfocus on her work. hi, littlejoe. love. and herfocus on her work. hi, little joe. a5 love. and herfocus on her work. hi, littlejoe. as more and more people get infected they demonstrate an imperative to protect the plant at all costs. a personality change that's almost imperceptible. cannes 2019 has been called the year of the genre film, but apart from little joe lots of other firms feature elements of sci—fi, the supernatural, zombie movies and horror. sometimes all at once. so why are they so many right now?

storytellers and film—makers have an urge to say something this year. they are really keen on getting the message across. so genre is something that can get the message so something that can get the message so quickly, cra55ly, and that is very entertaining. using her own unique style, with heavily choreographed scenes, deadpan acting and strange, unnatural colour schemes, a tradition of sci—fi horror is drawn on from invasion of the body snatchers, stepford wives and is a shop of horrors that realises fears about automation and corporate control. it's about science at the natural world. does she have an ultimate point to making this film? i have the feeling, in our time, we hope that science brings us all the a nswe i’s. hope that science brings us all the answers. it's a little bit of what religion you should do in previous times. our prie5t5 nowadays are scientist. we hope that scientists

give us all the answers. but the problem is, ifear, they don't have the answers. little joe fantasy of antidepressant pla nts little joe fantasy of antidepressant plants shines a light on a very modern and desperate search for happiness. and in its ambiguity it warn5 us happiness. and in its ambiguity it warns us that if there is one thing we can be sure of, is that we can never be too sure of anything. one director who made an impact this year was matt ddr, who was in competition with a film set in senegal. it marked her directorial debut for the french actre55 senegal. it marked her directorial debut for the french actress and film—maker. her picture is an ambitious combination of magical realism, romance and social commentary. tri5ton went to meet. the film centres on a young seller

cana the film centres on a young seller can a senegalese woman in love with salomon. their try5t is cut short when he leaves on a small boat with a group of young men in search of economic opportunity in spain. but the vast ocean 5lip5 away the lives of the group as with a chance to reconnect with his lover. with this film it was soared a5 a follow—up to a documentary shot looking at the struggles of young senegalese man attempting to cross the seas to emigrate to europe. attempting to cross the seas to emigrate to europelj attempting to cross the seas to emigrate to europe. i dedicated the first short film to the journey in this sea of the boys, i wanted to make a feature of the journey, the woman who stayed behind. it was a way to capture the metamorphosis of a girl becoming a woman. i also used archetypes of ulysses and penelope

to re—explore the joy of penelope, who is the wife of ulysses. she waits for her husband to come back. the lead female played by the first to match it is more than paying for her lover to return, she struggles to escape arranged marriage with the man she doesn't love, and tries to evade investigations of a mysterious fire that happened on the night of her wedding, police suspect salomon of starting it. although it's unclear how a dead man could start a fire, it seems that salomon and his friends have returned to senegal a5 ghosts, to handle unfinished business. what inspired the magical realist element to the phone? the two dimensions in africa are intertwined. the fantasy dimension comes from an atmosphere i perceived when i was starting to make films there. a lot of people were reporting for spain, they left at

night, without saying anything to anybody. knowing that so many people have disappeared in the ocean you start to look at the ocean in a different way, also. and i thought it felt very ghostlike. that's what made me decide to write a film on the disappearance of these youths in the disappearance of these youths in the ocean. it would definitely be a ghost film. because it's like a ghost film. because it's like a ghost journey. a ghost generation. before the yearly love story was praised that is cannes premier the pre55 propagated headlines concerning the fact that rocketman was the first black woman with a film at the official competition selection. learning to earlier this month the director, who is of mixed heritage had been quoted saying she did not think of herself as black or clarify to previous statement.

clarify to previous statementlj clarify to previous statement.” definitely identify as black, maybe there is a misunderstanding, or wrong translation. i identify as much with white is black. i am mixed. for those who are sensitive to my work, this film, if it makes me become a symbol in terms of representing, i don't know, it is great. and i am extremely proud and moved by that, because i know how symbols and marks are important for the construction of identity. but i think that cinema has to stay fairly free from these kinds of flags, and it's really the film that is important, i think. there's been some lamenting that french cinema is not what it once

was, nowadays, so french films 5eem able to thrive. this year the competition at cannes contains films from new young french directors from diverse backgrounds. were their voices be heard in the world stage? heatherjones reports. in 2019 amidst the 14 french productions in the official festival line—up, one could still see the usual suspects, critics have also 5en5ed a change. an all female lead film added to the number of french women showing in the competition. meanwhile, not only was the competition. meanwhile, not only wa5 mati diop in competition, so was another first—time director with his le5 another first—time director with his les miserables, a blistering comparison of life in the modern paris suburbs to victor hugo's of historical masterpiece. it's great that they give opportunity for it to first—time directors in competition, because it's something for these kind of

movies to be in competition. with the even wider visibility, it's wonderful. they strive to give greater visibility to more diverse faces, and to listen to new voices can't come a moment too soon. recently, the launch of her new film, farewell to the night, catherine deneuve voiced disquiet adding to criticism from within the french industry that it's too bloated, failing at the box office and file of the same names. one of the directors with the midas touch is the man who starred in the story ofa is the man who starred in the story of a director who recreates .he . he has worked in hollywood and thinks france represents freedom. as a director you don't have the same difficulties that you can go through when you direct a movie in the states, for example. you can't touch the glass on the table because

that's the job of the props guy, and you know, there are a lot of things that are very complicated. this is part of the french film establishment, but this was not. they struggle to make a short version of this film a few years ago. the difficulty was in financing the film, clearly. there were lots of problems. it wasn't going to be easy to find a film like this one. there were many questions such as what would happen if we filmed in the suburbs. here we are. les mi5erable5 could be the success story of cannes, getting snapped up by amazon. amazon has paid ma55ive amounts of money for this film, which means they believe it's going all the way to the oscars. that is something that shows that they believe french cinema can be international, especially if an amazon change is getting through it. the french have prided themselves on having the biggest, and they say the

be5t having the biggest, and they say the best film industry in europe. but they've had to listen to criticism that their industry is pale, stale and male. this year they may have ensured its future. well, that brings this special cannes edition of talking movies to a close. you hope you enjoyed the show. remember you can reach us online at bbc doubt come. and you can find us on facebook. from me and the team here on the french riviera, it's goodbye a5 on the french riviera, it's goodbye as we leave you with eltonjohn and rocketman 5tar taron egerton performing at the festival. i'm not the man they think i am at all. no, no, no. i may rocketman. rocketman!

and i think it's going to be a long, long time to touch down brings me down. i'm not the man they think i am at all. no, no, no. i'm the rocketman! time for your life where the update from the bbc weather at the start of your bank holiday weekend which has brought warm sunshine for some but there are changes on the way. those changes have begun across some spots, particularly into scotland and northern ireland. this blanket of cloud moves in accompanying the weather system from the atlantic which has already produced rain out there. some move through northern ireland, some to come into those pa rt5 of scotland ireland, some to come into those parts of scotland that have been dry so parts of scotland that have been dry so far. patchy rain across part5 parts of scotland that have been dry so far. patchy rain across parts of north—west england, and north wales a5 north—west england, and north wales as the afternoon goes on. to these

the cloud is increasing, stray showers in south wales, but here many places will be dry and up to around 23 degrees, with warm spots barely into double figures in northern scotland, quite a range across the uk. in tonight, further rain at times in scotland, pushing into northern ireland, a central and eastern england stays mainly dry, some breaks in the cloud, may be the odd mi5t some breaks in the cloud, may be the odd mist and fog patch. a mild night, and then tomorrow the rain 5pread5 its way southwards, but increasingly patchy in nature, not much in the way of showers. you may wa nt much in the way of showers. you may want some on your garden. rain in northern scotland into the afternoon but elsewhere you notice are turning not just but elsewhere you notice are turning notjust dry, but elsewhere you notice are turning not just dry, but but elsewhere you notice are turning notjust dry, but sunnier a5 but elsewhere you notice are turning notjust dry, but sunnier as well. it's fairly breezy, cooler and fresher. and then, for the bank holiday, 5till fresher. and then, for the bank holiday, still some rain at times in

northern scotland, we are close to a where the frontier. elsewhere, sunshine and showers, some on the breeze pushed a little further eastwards during the day. the eastern side of england will see the driest weather on monday. still some sunny spells into the afternoon but temperatures have come down. it's barely into double figures, but 5till barely into double figures, but still in northern scotland the rest of the weekend, cooler weather spreading southwards, more noticeable in the breeze is that weekend goes on and the chance of some rain. into next week, internet 5peu some rain. into next week, internet spell of cooler more unsettled weather with low pressure close by. into next weekend, temperatures creep back upwards again, it looks like high—pressure returns from the south pushing warmer air northwards across the uk. it may take some time to reach scotland. keep an eye on that. and settle for a time, cooler, then warm again next weekend. —— u nsettled then warm again next weekend. —— unsettled for a time.

this is bbc news, i'm chris rogers. the headlines at two. another two cabinet ministers — matt hancock and rory stewart — enter the race to become the new conservative leader and prime minister. i am about practical action. i believe i can get brexit done, i can beatjeremy corbyn and reunify the country. president trump is injapan for the start of a historic four—day state visit. universities in england are told not to "scaremonger" over finances a5 a review is expected to call for them to reduce their tuition fees by nearly £2000 per year. a british climber dies on mount everest. robin haynes fisher is the tenth person to die on the mountain this season a special edition of the bbc‘s brexitcast —