you're changing your capital requirements, and the speed of turnover is much quicker now. but this isn't just about degrees. the cost of going to university has been one of the big political debates of recent years. but this review has always been focused on another problem — why is it we spend so much supporting people who study for a degree, and so little on people studying for the technical and vocational qualifications that employers are crying out for? tierney is studying engineering at harlow college, unlike a uni student, she can't get a loan for living costs to continue here — something this review might seek to change, with better support for learning throughout life. extending our loans would be a step in the right direction. i think the right thing is that we have a coherently funded education system that enables people to do that throughout their life.

universities and colleges want clear decisions after this review. but with politics in turmoil, there's no guarantee. branwen jeffreys, bbc news. now it's time for a look at the weather with alina jenkins. hello. part of scotland have seen around 30 mm of rain in the last 2a hours, well over an inch. and it's scotland which holds onto the rain overnight. slowly sinking its way southwards, turning drier for orkney, the northern highlands. that rain could arrive into the far north of england and northern ireland by dawn. elsewhere, dry — some clear skies before cloud builds across western fringes. and a fresher feeling night, lows typically between nine and 11 celsius. our rain doesn't go too far tomorrow. so, lingering through the central belt, southern scotland, northern ireland and the far north of england. elsewhere, some spells of sunshine, but also some fairly frequent showers blowing through on a brisk west or northwesterly wind. not too many showers, though, getting across to east anglia and southwestern england, but nowhere immune from a shower tomorrow.

despite some sunshine, in the breeze, it's going to feel a little bit cooler. temperatures generally between 1a and 17 celsius. just nine or ten, though, for the far north of scotland. plenty of showers around on tuesday, particularly the further east you are. many should escape the showers, though, on wednesday. bye— bye. hello, this is bbc news with julian warriker. the headlines: michael gove becomes the eighth tory mp to enter the race for the party's leadership. he'll take on borisjohnson again, three years after the pair fell out during the last conservative leadership contest. i will be putting my name forward to be prime minister of this country. i believe i'm ready to unite the conservative and unionist party, ready to deliver brexit and ready to lead this great country. final voting's taking place across 21 european union countries, to select new meps. results will be released after polls

close at 10 pm tonight. after the bbc reveals evidence of abuse at a care home for people with disabilities, a former care quality commission inspector says he raised serious concerns about whorlton hall hospital, more than three years ago. a man and a woman are charged with murder after two children died following an "incident" at a house in sheffield on friday. a ringside seat at the wrestling for president trump, who's on an official visit to japan. 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 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 an impact. it is hard to overstate the sense 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. have to say, 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 the more you know. and the impossibility of being able to truly understand it is what causes this fascination. tara ntino displays masterful technique 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 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 us offerings from zombie firms to refn‘s to old to die young. they carried 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 year's cannes. the dead don't die brought the end of the world to small—town america. man, this isn't going to end well. residents become zombies and stagger around crying for the things they miss most. coffee! chardonnay. 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 for years. sometimes they make movies that are late, you know, should have been made ten years ago. but they get around to it. if you can have the perspective of notjudging it by the week it came out or 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 aside 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 they was the danger of being run

over by a tank or a star wars storm trooper. studio spent lavishly on publicity. last year's awards season success of black kkklansmen 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, with 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. albeit produced by an american studio. john, warts and all. # i'm not the man they think i am at all # no, no, no.

# i'm a rocket man 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 soul 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 all 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 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 nonetheless 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 has had 1a films in competition, and he's won the top prize twice. now at the age of 82, he has directed sorry we missed you, whose subject matter beams some likeness to his last film, i, daniel blake, portraying a man famous by the welfare system.

the new picture evolves only 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 prpoblem is they are in doubt because things fell apart during the banking crisis and the house fell apart. so dad is 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 he can make money. don't give me a ticket! theirfather 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 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 had a long career making movie since the 19605 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 your final film? i don't know. i rather foolishly said that, two or three films ago. i am 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 game 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 gig economy. british actors could also be found this year in littlejo, 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. bbc culture‘s 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 beauchamp as 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, kerry fox, and chris, played by ben wishaw. she brings one of her flowers home for his son, joe, and christens it 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, ellis, 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. and a personality change that's almost imperceptible. cannes 2019 has been called the year of the genre film, and 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 a 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 little 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 answers. it's a little bit of what religion

used to do in previous times. our priests nowadays are scientists. 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. one 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. tristan daley went to meet her.

the film centres on a young 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 sweeps away the lives of the group as well as a chance to reconnect with her lover. with this film it was sought 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 the archetypes of

ulysses and penelope to re—explore the journey of penelope, who is the wife of ulysses. she waits for her husband to come back. the lead female played by the first time actress it is more than pining 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, that 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 film? 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 departing for spain, they leave at night, without saying anything to anybody. also 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 eerie love story was praised that is cannes premier the press propagated headlines concerning the fact that diop was the first black woman with a film at the official competition selection. earlier this month the director, who is of mixed

heritage had been quoted saying she did not think of herself as black or white, then clarifieda previous statement. i definitely identify as black, maybe there is a misunderstanding, or wrong translation. i identify as much with white is black. iam mixed. for those who will be 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, few french films seem able to travel. this year the competition at cannes contains films from new young french directors from diverse backgrounds. will their voices be heard on the world stage? emma jones reports. in 2019 amidst the 1a french productions in the official festival line—up, one could still see the usual suspects, but critics have also sensed a sea—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 historical masterpiece. it's great that they give the opportunity 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. this drive 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 full of the same names. one of the directors with the midas touch is the man who starred in the story of a director who recreates memories in differnt 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. they struggled 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. but here we are. les miserables could be the success story of cannes, getting snapped up by amazon. amazon has paid a massive amount of money for this film, which means they believe it's going all the way to the oscars. so that is something that shows that they believe french cinema can be international, especially if an amazon change

is getting behind 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. but acting this year, they may have ensured its future. well, that brings this special cannes edition of talking movies to a close. we hope you enjoyed the show. remember you can reach us online at bbc.com 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 # til touchdown brings me round # i'm not the man they think i am at all # no, no, no # i'm a rocket man hello. it's been a mixed picture across the uk today. showers or longer spells of rain for some. a rather grey, gloomy scene in huddersfield earlier on this afternoon. for others, hardly any showers and some good spells of sunshine. what a contrast in waterbeach in cambridgeshire around about the same time. but it's been scotland that's seen the lion's share of the rain today, all tied in with this frontal system which will continue to linger across scotland over the next 2a hours. through this evening and overnight, our band of rain does sink its way a little bit further southwards, turning drier across the northern highlands, the northern isles, and that rain perhaps arriving into northern ireland, the far north of england by dawn.

elsewhere, clear skies. cloud building across western fringes of england and wales later in the night. and a less muggy night, slightly fresher — nine to 11 celsius, butjust five or six for northern scotland. our rain band doesn't go very far tomorrow. it lingers across the central belt, southern scotland, northern ireland, the far north of england. elsewhere, some spells of sunshine but also some fairly frequent showers blowing through on this brisk west or northwesterly wind. east anglia, southeast england not seeing quite so many showers, but nowhere immune from a sharp shower. and a fresher feel, despite any sunshine. 13 to 17 celsius for most. just nine or ten for the far north of scotland. on into tuesday, the winds will lose some of their strength but they're still coming from the north or the northwest, and we'll still be seeing some showers generated as well. but cooler air continuing to sink its way southwards. so, temperatures down a notch compared to bank holiday monday. certainly a cooler feel for many. still some showers around on tuesday. looks like they're going to be focused across central, eastern and southeastern areas.

best chance of seeing some rain across east anglia and southeast england this week will be on tuesday from those showers. fewer showers the further west you are. temperatures typically 12 to 17 celsius. as we go into wednesday, keep an eye on this area of high—pressure starting to build from the southwest. so, it should be, for most, a mainly dry day. i say "for most", because it looks like northern ireland, western fringes of scotland will still catch some showers. but elsewhere, aside from an isolated shower, it should be mainly dry. after a sunny start, the cloud just tending to build. but temperatures, for most, are going to be in the mid, maybe the high teens, across east anglia and southeast england. so, looking ahead to the week, it's going to be cooler. there will be some rain for some, but not for all. bye— bye.

this is bbc news. the headlines at 9pm. michael gove becomes the eighth tory mp to enter the race for the party's leadership — he'll take on borisjohnson again, three years after the pair fell out during the last conservative leadership contest. i can confirm that i will be putting my name forward to be prime minister of this country. i believe that i'm ready to unite the conservative and unionist party, ready to deliver brexit and ready to lead this great country. final voting in the eu elections in underway in 21 member states — results will be released after polls close at 10 pm tonight. a former inspector at the care quality commission says he raised concerns nearly four years ago about a care home at the centre of a bbc investigation into abuse allegations. a man and a woman are charged with murder after two children died