ofthe part of the campaign which made unsubstantiated claims, dishonest, about the amount of money that would be available, for example, the famous nhs bus. but also, the ease with which we would do a deal with the eu, none of that has been true. the referendum happened nearly three yea rs the referendum happened nearly three years ago. we need to move forward. disappointed as i was in the result, we now need to think about the best way for the future of this country. but how can he claim to be a man of integrity when he made those claims which turned out not to be true. people have seen they are not true? if that is the case, anybody who supported the leave campaign will be subject to that criticism. none of them can be trusted? no, i think the truth is during the campaign neither side might grow covered themselves in glory. it was not a campaign that concentrated on the detail. we have

to look forward and not keep looking backwards. who can deliver brexit in an orderly fashion to and secondly, asa an orderly fashion to and secondly, as a positive vision going forward and can take onjeremy corbyn? at the end of the day for me as a conservative would be to leave in a disorderly fashion, damage the country and open the door to downing street forjeremy corbyn. michael has the ability and the passion, the debating skills and the energy, to ta ke debating skills and the energy, to take corbyn on. bob neill, thank you. a woman has been found alive more than two weeks after she went missing in a forest on the hawaiian island of maui. amanda eller was rescued by helicopterfrom a deep ravine — she'd been hiking in the area when she became lost and then injured. ramzan karmali reports. the last 17 days of my life have been the toughest of my life. hiker amanda eller knows how lucky she is to be alive. she spent over two weeks lost in a forest on the hawaiian

island of maui. the yoga instructor thought she was walking back to her car but was walking further and further into the wilderness. it came down to life and death, and i had to choose, and i chose life. i wasn't going to take the easy way out, even though that meant more suffering for myself. amanda was rescued from a deep ravine. she waved down a rescue helicopter funded by donations. one of her friends was on that rescue helicopter. out of the woodwork she comes out, arms swinging. i was like, there she is! i know her very well so i said, that is amanda eller! i thought, how is she dressed, she is not wearing shoes, we have to land this thing! don't jump out of the helicopter! in order to survive she foraged on berries, but she was injured with a fractured leg and severe burns from the sun. doctors say she should make a full recovery. she is most grateful for those who didn't give up on her. i have the most gratitude

and respect and appreciation, i can't even put it into words, for the people who helped me, who have prayed for me. her mother, julia, has called the rescue a miracle. we need more stories like that. now it's time for a look at the weather with louise lear a lot more in the way of cloud this morning. a mild start but a wet one for some. this is where the rain has beenin for some. this is where the rain has been in the last few hours. moving through scotland, out of northern ireland and into england and wales. it is showery in nature. it will wea ken it is showery in nature. it will weaken substantially. the rain lingers in the far north of scotland. it will feel cool and disappointing. southern scotland, northern ireland, northern england brightening up in the afternoon. highest values of 20 degrees. as we move out of sunday into monday, the cold front moves away. these weather front in the far north of scotland

will pretend —— will tend to linger. it will stay pretty unsettled into bank holiday monday. some wet weather. brother breezy. quite cool. elsewhere, after a sunny start, showers on the west facing coasts. the east seeing the best of the brightness and the warmth. take care. this is bbc news. the headlines. borisjohnson and michael gove — the two figureheads of the official leave campaign — take on each other for the conservative party leadership. i will be putting my name forward to be prime minister of this country. i believe i am ready to unite the conservative and unionist party, ready to deliver brexit my gran lead this great country. andrea leadsom and dominic raab have alsojoined in the race hoping to be prime minister by the end ofjuly. polling in the eu elections ends atio pm tonight 21 member

states are voting today. a 17—year—old boy has become the fourth person to be charged with the murder ofjodie chesney. she was stabbed to death in a london park in march. the boy has also been charged with possession of a prohibited weapon, a stun gun. a hiker has been found alive more than two weeks after she went missing in a forest on the hawaiian island of maui. amanda eller was rescued by helicopter from a deep ravine. she says she faced difficult choices "between life and death". 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 brook. we look back on the highlights of this years cannes film festival.

one of the biggest events in cannes during the 12 days of the festival 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 made quite an impact. it is hard to overstate the sight of anticipation surrounding 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 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. we follow rick and cliff in 1969 los angeles, recreated with 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 murderous

cult, who made headlines with the slaughter of sharon tate. how charles manson mesmerised his followers intrigues quentin tarantino. how he could get these girls, these young boys, to just 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 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 tara ntino 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 there were other us offerings. they seemed to carry a sense of loss of order in society. emma jones explains. flesh eating zombies. don't joke, 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 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. there was little sign of life in hollywood itself. fluff came in the shape of angry birds 2, 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, cannes used to be packed with billboards, and there was the danger of being run over by a star wars storm trooper. the studio spent lavishly on publicity.

last year's awards season success of black klansman shows that an american film lodged at good cannes can go all the way to the oscars. —— launched. they are often edgy and unexpected. this year's 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 a notable presence, most significantly with the world premiere of the elton john film rocketman. it was produced by an american studio. this musical fantasy is a celebration of elton john, warts and all. # i'm not the man they think i am at all. # no, no, no. # i'm a rocketman. 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 song man. you've got to kill the person you were born to be, in order to become the person you want to be. the film, which is eltonjohn‘s life story with songs, attempts to tell all including struggles with sexual identity and drug abuse. the songs shine. taron egerton did hold his own singing and found 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 in a promotional studio 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 acting, i am not looking at taron egerton, i'm looking at me. director dexter fletcher maintains that eltonjohn and his husband, who were producers of the film, gave cast and crew free rein in their portrayal. rocketman is an authorised version 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 11! 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 bears some likeness to his last film, i, daniel blake, portraying a man failed by the welfare system. the new picture involves a working—class newcastle family, where

the parents are victims of the gig 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! for theirfather, being an independent van driver for a delivery company brings tremendous pressure, incredible stress on thejob and long hours, which have an impact on his family. his wife is 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 1960s and now

has more than 30 feature films and documentaries under his belt. you have had an incredibly prolific career as a director, will this be yourfinalfirm? i don't know. i rather foolishly said that, two or three films ago. i was up to my knees in water in an irish bog and i thought, i'm wet 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. i'm not saying it now. i don't know. i take each day as it comes. sorry we missed 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 littlejoe, a film from jessica hausner.

she has fashioned a sci—fi horror film that touches on fears about parenting, corporate control and the limits of science. rebecca lawrence reports. we are entering a new era. the first mood—lifting antidepressant happy plant. imagine a female frankenstein. that's the idea that inspired this film starring emily beacham as alice, a scientist who, instead of making a terrifying human—like 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 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 herfocus on her work. hi. little joe. 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 littlejoe, lots of other firms feature elements of sci—fi, the supernatural, zombie movies and horror. —— films. 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 through quickly, crassly, 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 and 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 answers. it's a little bit of what religion you should do in previous times. 0ur priests 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's fantasy of antidepressant plants shines a light on a very modern and desperate search for 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. 0ne director who made an impact this year was mati diop, who was in competition with a film set in 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. we went to meet her.

atlantique centres on a young seller can a senegalese woman in love with salomon. their tryst 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 slips away the lives of the group as with a chance to reconnect with his lover. with this film it was soared as a follow—up to a documentary shot looking at the struggles of young senegalese man attempting to cross the seas to emigrate to europe. i dedicated the first short film to the journey in the 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 as 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 ocean. it would definitely be a ghost film. because it's like a ghostjourney. a ghost generation. before the love story was praised at its cannes premiere, the press propagated headlines concerning the fact that diop was the first black woman with a film at the official competition selection. in an interview this month, the director had been quoted saying she did not think of herself as black or white. she tried to clarify that

statement. i definitely identify as black. maybe there is a misunderstanding, or wrong translation. i identify as much as white as black. iam 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, that nowadays, so french films seem able to thrive. this year the competition at cannes contains films from new young french directors from diverse backgrounds. will their voices be heard in the world stage? emma jones reports. in 2019, amidst the 11! french productions in the official festival line—up, one could still see the usual suspects, critics have also sensed a change. an all female lead film added to the number of french women showing in the competition. meanwhile, not only was mati diop in competition, so was 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. 0ne one of the director actors with the guidance touch starred in and out of competition film, the story of a directory gree creates memories from different eras. 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. he struggled to even make a short version of his film. 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 miserables could be the success story of cannes, getting snapped up by amazon. amazon has paid massive 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 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. i hope you enjoyed the show. you can always reach us online. and you can find us on facebook. from me and the team here on the french riviera, it's goodbye as we leave you with eltonjohn and rocketman star taron egerton performing at the festival. # i'm not the man they think i am at all. # no, no, no. # i'm a rocket man. # rocket man!

# and i think it's going to be a long, long time # till touchdown brings me down again to find. # i'm not the man they think i am at all. # no, no, no. # i'm the rocketman! hello there. sunshine a minority at the moment but i did manage to find a little bit down in east sussex. most of us are starting to see quite a bit of cloud. we have seen persistent rain in scotland. while over an inch persistent rain in scotland. while overan inch in persistent rain in scotland. while over an inch in the past 2a hours. it moves steadily eastwards. it is starting to fragment a little as it pushes across northern england, the midlands and into wells. that is going to be the story of the date for the rest of the afternoon. slipping south and east. a few showers by the end of the day in the london area. behind it, brighter conditions. strengthening winds with

some persistent rain will make it feel cool and disappointing, i'm afraid coming to the far north of scotland, with just 9 degrees. we should see 21 or 22 degrees for some. that frontal system will continue to move its way steadily south and east. for a bank holiday monday we keep some stubborn rain across central and southern areas of scotland. elsewhere, brightand breezy with a scattering of showers in the west.

this is bbc news. the headlines... borisjohnson and michael gove — the two figureheads of the official leave campaign — take on each other for the conservative party leadership. will be putting my name forward to be prime minister of this country. i believe i am ready to unite the conservative and unionist party, ready to deliver brexit and ready to lead this great country. andrea leadsom and dominic raab have also joined in the race hoping to be prime minister by the end ofjuly. polling in the eu elections ends at 10 pm tonight — 21 member states are voting today. a warning that 1700 buildings are at risk of failing fire safety tests held after the grenfell tragedy. found alive after being missing for two weeks in a hawaiian forest — the hiker who says she faced difficult choices.

it did come down to