hello, this is bbc news, the headlines... the uk prime minister borisjohnson is back in downing street two weeks after being discharged from hospital treatment for conronavirus. uk ministers say the public must adjust to "a new normal" as the coronavirus outbreak remains at a "delicate and dangerous" stage. latest figures show another 413 people died in uk hospitals. senior nhs officials insist that social distancing measures remain vital. there's continuing concern in care homes in england, over testing for staff and residents. italy's prime minister announces measures to ease the coronavirus lockdown from next month, as the reported death toll there is the lowest in over a month. children in spain are allowed out

for the first time in six weeks, as the daily number of deaths fell to its lowest level in more than a month. now on bbc news a special edition of talking movies. tom brook and his team report from home with stories on new york's tribeca film festival which in the midst of the pandemic has gone virtual. hello from new york. i'm tom brook and welcome to our talking movies: lockdown special. i'm here in central park, not far from my home. it's a great place to come to in these very challenging times. i'm actually shooting myself. i'm using a selfie stick, a mobile phone, and it seems to be working 0k.

let me tell you, there is quite a bit of activity in the film industry right now. directors are working with editors remotely to complete their films and screenwriters are fashioning screenplays. there is some forward movement. now, by the magic of virtual technology, let me join my colleague emma jones, who is near her home in west london. emma, this is the second time that we've been working remotely from our homes for talking movies and it can be quite challenging, but it's also quite exciting. how has it been for you? hi, tom. i really miss experiencing cinema with all my colleagues. having said that, you're right. there is something really exciting at getting to produce television at a time like this during lockdown. and also, i think it's really important that we do shine a spotlight on the entertainment industry, which is going through its own crisis. emma, i do miss being around film people and normally at this time of the year, you and i would be looking forward to going to the cannes

film festival in may. now, i know we're going to be featuring a report from you later in the programme where you're looking at the impact of the pandemic on film festivals in general. what's the headline? i think that film festivals aren't just about films. they are about red carpets. they're about stars. they're about community and cinema. well, emma, thank you very much indeed. now let's take a look at what our reporters and film critics around the world will be bringing us in this programme. i'll be reporting from berlin on how germany has witnessed a renaissance in the drive—in because of the coronavirus outbreak. and i'm nicholas barber at home in london. and in these days of confinement, i'll be talking to you about movies shot in confined spaces. had these been normal times, then downtown manhattan would have

been abuzz with the 19th annual tribeca film festival. co—founded by robert de niro, tribeca has become a real new york institution, showcasing documentaries and feature films from around the world. well, this year, instead of cancelling their festival, tribeca's organisers decided to put part of it online. every spring, the tribeca film festival brings life to the city. robert de niro and co—founderjane rosenthal are very much present. but this year, tribeca went partly virtual. not having a physical festival was a loss for all involved but the organisers are spinning it as a great opportunity. the innovation is really at the root of what we do at tribeca, so it felt appropriate that we could lean on that to try to connect audiences and creators in this really exceptional time when we weren't able to do it in a theatre.

tony said mercury had doubts about the record. one intriguing tribeca feature film having its world premiere virtually forjust press and industry professionals was stardust, inspired by british songwriter and singer david bowie, set mostly in 1971, when he went to america for the first time. i've been obsessed by david bowie since i was a kid, bought all his records, you know, read every magazine article i could get my hands on. i — i was — and then much more recently, read all the biographies, and i guess the thing that sort of always struck me was how little people seem to know about his family background and about this sort of chapter in his life. of course, director gabriel range and his cast were expecting to have a real premiere at tribeca in new york. instead, they had to make do with a virtual premiere. tribeca, in tandem with film public relations companies, are among the pioneers of this kind of promotion. what had been set up was an online version of a press conference —

the first i'd really participated in when the directors and cast were all inside their homes. the four of us just did a little sort of video introduction and then apparently 350 industry folk tuned in from five different continents. tribeca's organisers believe that one of the advantages of a virtual festival is that the audience reach is that much greater than what you could get from a physical festival. we're able to expand the global audience with this. just the fact that all of this storytelling is getting launched at once under the tribeca film festival banner is quite remarkable. tribeca always has movies that deal with identity. this year was no exception. come, take a picture with your sister! i'm good. come on, benito! my name is abdul! shadows is a short film set and shot in new york. it's a coming—of—age story about a high school student who's part of a catholic family adjusting

to the return of her brother from prison, who's come back as a converted muslim. i've been very interested in interfaith families — which my family is as well — and just been very, very interested in seeing how, in america, families that have individuals who are really trying to balance who they are versus who they are within a family. like many film—makers, ria tobaccowala was grateful that tribeca, rather than cancel its festival outright, gave her the opportunity to have herfilm seen online , albeit in the case of shadows, only for press and industry people. it means the world to me. it allows us to do — you know, a part of what makes something like tribeca film festival so special for up—and—coming film—makers is to have this platform to share our ideas and share our points of view. tribeca also had virtual offerings that would resonate with the lgbt community. from israel came sublet. set in tel aviv, it tells the story of a brief relationship between an older american new york times travel

writer and a younger israeli man. obviously, as our relationship evolves, some things happen less frequently than they once did. the film, among other things, reflects the changing way in which gay people see themselves. we fought like crazy to say, "we're gay! "we should be, you know, accepted as gays," you know, and today it's all like young people are saying, "we don't want those labels. those labels belong to you old guys, to the old world." for the public, tribeca's most impressive offering is perhaps the cinema 360 showcase, an immersive virtual reality presentation. among the 15 films people could watch in their homes with a special headset — there are three million in circulation right now — is an endeavour called the pantheon of queer mythology. it's an effort to tap into some of the complex relationships between people in the lgbt community. it's a piece that's been getting positive feedback.

its creator is mindful that his work is being shown by a film festival that helped new york rehabilitate itself before in the wake of the terror attacks on the world trade center in 2001. in 2002, tribeca started out in the wake of this terrible tragedy as a way to fight back with art, and so, they will continue to fight. they're proving it by taking this system online through 0culus tv and i'm privileged that i can be a part of it. of course, watching virtual reality films at home with a headset pales in comparison to doing so at a real film festival where you're surrounded by people. of course, everybody would like to see the tribeca film festival take place in a real physical space. the organisers are quick to point out that the festival hasn't actually been cancelled, merely postponed, and they hope it will emerge in some shape or form

at some point in the future. this is my local cinema that i can pass by every day in london on my daily exercise. and right now, i don't see any way that it's going to be open to full capacity anytime soon. and this is the problem that film festivals are facing. some, like south by southwest and tribeca, have decided to make content available to audiences online. others, like cannes, think that that's really not an option. and another huge event, venice, is also going to try and go ahead with a physical festival. so is going digital really the solution for the film industry at this time of crisis? through the lens of covid—19, some of the most beautiful spectacles the film world has to offer currentlyjust look like social distancing nightmares. like tribeca and south by southwest in north america,

some european festivals have already moved part of their programme online, such as the swiss documentary event vision du reel. in a market where netflix is currently valued at $200 billion and nearly everyone is streaming at home, isn't it the only short—term option to survive? non, says cannes, the mother and father of all film festivals. it'll put its market online, but the side competitions of the palme d'0r line—up are already cancelled and the festival is still considering all its options, apart from going digital. when you're at cannes, tiff or venice, everything is about the red carpet, glamour and the world's biggest films. if you try and put it online, it's just not the same experience. and also, if you're a very big film, you don't want to risk the piracy problems that can happen. also, i think, when we can go back to cinemas, cannes wants to be there, right at the forefront,

to celebrate cinema. festivals provide far more value to the industry than glamorous red carpets, though. the winner of last year's palme d'0r was parasite, given the spotlight by the ecstatic critical reaction at cannes. thanks to that start, it now has oscars and a box office of $200 million. and so often what encourages the public to buy tickets to festivals like toronto and venice is the enticing prospect of interacting with celebrities introducing their films. looking ahead to these autumn festivals, when even tom hanks has suffered from covid—19, this is not currently a world where anyone, hollywood stars included, will travel lightly. it's great to have a festival where you can maybe physically show the films and the journalists can do theirjobs, but the truth is that without the talent that is the actors, the directors and the producers being there, it's a rather muted event, quite frankly. emma meet gael. gael meet emma. hello. hello, emma. hey, how's it going? i'm ok, it's good to see you.

mexican superstar gael garcia bernal is a regular at the biggest festivals in the world. his new film with acclaimed chilean director pablo larrain — ema — is launching on arthouse streaming site mubi this month. he's seeing the positives in the current way of connecting with film. i'm curious to see the peoples' reactions and i'm curious to see it, as well, from this perspective from my home, you know, and see what the reaction is. you know, to see these people dancing in the streets, touching each other, you know, there's a lot of physicality. strangely enough, there's few films about that nowadays. but now that we cannot touch each other, that we cannot see each other, there's something interesting that's going to happen while seeing it. while there's a captive audience at home embracing video link life, the sheer complication of trying to stream unsold films and negotiate worldwide rights means that even smaller festivals are deciding it's

just better to write off 2020. christoph, you're artistic director of the munich film festival, and you've decided not to go ahead this year — why? you know, emma, the munich film festival has always been about meeting in the beautiful summer, and, you know, we have a beautiful river, so people sit in the beer gardens, they sit by the river, then they go back to the cinema, see a film, and later on they discuss it, so it's all about encounter, being together and willingly confront yourself and go for culture, and this is something that you simply cannot translate to the digital space. as this pandemic plays out, the film industry faces a growing crisis of great films that are ready to go with no global showcases to display them. and while some festivals are to be praised for trying to recreate online community, it seems to underline what a sight the real thing

is and how much it's missed. in the midst of this pandemic, many of us are living in our homes in confinement, often in quite small spaces. in the past, many film—makers have set an entire picture in a physically limited area, often to great effect. bbc culture film critic nicholas barber reports. like most people, i am stuck at home at the moment, so life doesn't seem to have the variety and the freedom and the exotic locations that we associate with films. but it's worth remembering that some of the best films of all are set in a space almost as confined as my room here. directors love the technical challenge of keeping the action going when nobody can go anywhere at all, and no director loved that sort of challenge more than alfred hitchcock. you're in charge of navigation. in 19114, hitchcock set lifeboat entirely onboard a cramped lifeboat after a civilian ship had been torpedoed by a german

u—boat in world war ii. moral concepts of good and evil and right and wrong don't hold for the intellectually superior. he went on to make rope, dial m for murder and rear window, each of which was almost all set in one apartment. this was a way to shoot a hit film far more quickly and cheaply than a typical thriller. woman screams. we were nice to you, we bought tulips. you know, my wife dressed me up as a liberal. another director who knows how to squeeze 90 minutes worth of tension and conflict into the smallest possible space is the currently controversial figure of roman polanski. back in 2011, polanski made carnage withjodie foster, kate winslet, john c reilly and christoph waltz as two couples in one brooklyn apartment arguing about their young sons, less and less politely as the film goes on. carnage was based on yasmina reza's

play god of carnage and a play is the ideal source for a story which takes up no more room than a theatre stage. hitchcock's rope and dial m for murder both started life in the theatre. so did richard linklater's tape with ethan hawke, robert sean leonard and uma thurman as three former high school buddies meeting in a motel room to confront each other about a crime in their past. normally, when a play is turned into a film, the director and writer open it up, spreading the action over different locations and a longer time period, but sometimes it's not opening it up that gives the film its intensity. in tape, carnage and secret honour, the characters feel trapped in an awful situation and the sets' limited dimensions add to that feeling. if they went for a stroll halfway through, it would defeat the point. and then there are films in which people are literally trapped, and the smaller the space, the more powerful they are. jafar panahi's daring documentary this is not a film was made while the director was under house arrest by the iranian government,

so he pondered art and freedom and film—making while he was stuck in his own flat. park chan—wook‘s fantastically gory korean shocker oldboy has its anti—hero, played by choi min—sik, being snatched off the street and locked in a cell for 15 years. but the lead character isn't shut in for the whole running time. in contrast, phone booth keeps colin farrell in a new york phone box for most of the film, while an unseen sniper blackmails him into confessing everything he's ever done wrong. as long as you've got a phone then, you only need one actor on screen and hardly any space at all. rodrigo cortez‘s buried takes the idea to its ultimate extreme. ryan reynolds plays a civilian contractor who is shut in a wooden crate six feet under the surface of the iraqi desert. there are no flashbacks, no cuts to the outside world and, again, no other characters except as voices on the phone. don't shoot!

iwill, i promise! some critics, unsurprisingly, compared bury to hitchcock's films. the difference is that today's directors have the lightweight digital cameras and mobile phones. hitchcock didn't. so you'll be seeing a lot more films set in confined spaces. or you could even make one yourself right now. the setting might be small, but the imagination that goes into it can be limitless. why are we still in this house?! the pandemic has certainly restricted film going, but around the world, there's been some ingenious efforts to bring people togetherfor cinema. seeing a film from the comfort of your car has undergone a bit of a renaissance in germany. now, our report from berlin. bring your family to our drive—in theatre. it's a blast from the past, which last experienced a peak in popularity in the ‘50s and ‘60s. sandy, you just can't walk out of the drive—in!

depicted an american period, films like grease and the outsiders. but after decades of decline in germany, the drive in cinema is experiencing an unexpected revival. away from city centres the retro tradition is enjoying a comeback, at least temporarily, during the pandemic. people are craving the cinematic experience without fear of covid—19 infection. according to one manager, in spite of a nationwide lockdown, drive—in cinemas, or autokinos, as the germans call them, are standing taller than ever. nowadays, it's got a little bit forgotten here in germany. that's why we want to give a rebirth for the autokino. then corona crisis came and the demand just rose. everything is closed and you can't even go to a restaurant or anything. so the only option is to go to a drive—in cinema right now. you are in your car, no risk at all. you don't get in contact with strangers. we are screening right now older movies like dirty dancing, grease, the ‘80s and ‘90s stuff.

people really like and enjoy this. i think it totally fits together. it's good for the people to see how time was before corona crisis. sound is transmitted for a radio frequency into each car. in order to avoid contact, e—tickets are scanned through a glass window. only two adults are allowed per car. a big responsibility is making sure shared facilities are disinfected. before, we had this perfect image off an autokino where the waiter comes to your car, you give the order and comes back with a burger or a coke orfries. and that's not possible anymore due to corona. and another thing is the toilet situation. and we disinfect the toilets after each use. there are 17 drive—ins in germany. some are shut down, but the ones that are open are booked out for days with plans to expand business. the autokino is enjoying a renaissance, but remains a novelty to german audiences. they've been in germany since 1960.

the first one opened up in frankfurt. it's also because there were many american soldiers, there was a g! station there. they've been always there, but they were not that popular in germany. it's a very american tradition. and now, it's a boom here since the corona crisis. people are a bit sick and tired of all their small screen. they want to have the big screen and they want to go out somewhere, even if they can't go out like normal. at a time when all the cinemas in germany are closed down, the drive—in is providing a much needed sensation of movie—going. it's a rare moment in the spotlight for the autokino. but with a rapidly changing response to the pandemic, how and if they will continue to operate is an open question. well, that brings this special edition of talking movies to a close. we hope you've enjoyed the programme. please remember, you can always reach us online — bbc.com/talkingmovies and you can

find us on facebook too. so from me, tom brook, and the rest of the talking movies production team, it's a very heartfelt goodbye in these challenging times. as previously mentioned in the programme, we reported on the film stardust, which featured david bowie. so, we're going to leave you with bowie's music video for life on mars. # sailors fighting on the dance hall. # oh, man, look at those cavemen go # it's the freakiest show. # take a look at the lawman beating up the wrong guy. # oh, man, wonder if he'll ever know. # he's in the bestselling show. # is there life on mars?

today we saw some warmth and sunshine again across the south of the country, temperatures in the low 20s, but further north there was a change. the weather was cooler with more cloud and rain. that is how the week is shaping ahead of us, cooler and wetter for week is shaping ahead of us, cooler and wetterfor some week is shaping ahead of us, cooler and wetter for some of us. low pressure has moved down from the north, bringing showers into the north of scotland and this front has brought cloud into the central parts of the uk. there will be a legacy of cloud because of this weather front. the north of scotland will see further showers. clear skies in between in northern ireland, central and southern scotland. there may be and southern scotland. there may be a touch of frost by the end of the night. for monday more cloud for

england and wales, the odd shower around. could see sunshine breaking through across the south—east, so it could warm up again into the afternoon. rain pushing into the far south—west by the end of the day. it stays showery and cool in scotland, particularly in the north. temperatures nine to ten. we could see 19 in the south—east, but for most of us it will be cooler than what we have been used to. but on the plus side the tree pollen levels will not be as high as they have been lately. as we head on into tuesday, this area of low pressure peps up tuesday, this area of low pressure peps up and moves northwards. some of this rain could be quite heavy, it is by far the most significant rainfall we have seen this month so far. quite a wet day in the southern portions of the uk. a bit more cloud further north. drier weather here, a few spells of sunshine. a few showers in the far north of

scotland. a cooler feeling showers in the far north of scotland. a coolerfeeling day showers in the far north of scotland. a cooler feeling day all around. temperatures in the low teens in the south because of the cloud and rain. for wednesday we could see some sunshine in the far north, but then the next area of low pressure m oves north, but then the next area of low pressure moves in, bringing windier and wetter weather to wales and the south—west. it will push its way northwards later on in the day. again it will feel on the cool side. it remains unsettled as we move through to the end of the week. signs of things warming up a bit by the end of the week.

this is bbc news with the latest headlines for viewers in the uk and around the world. the uk prime minister borisjohnson is back in downing street, two weeks after being discharged from hospital treatment for coronavirus. uk ministers say the public must adjust to "a new normal" in the fight against coronavirus. medics insist that social distancing remains vital. we now have a very definite trend in a reduced number of people in hospitals. that is definitely showing that our compliance with social distancing is proving to be beneficial. there's continuing concern in care homes in england, over testing for staff and residents. italy — the first country in europe to introduce a lockdown because of the coronavirus outbreak — is to ease some restrictions from early may.