the government has defended its decision to reimpose quarantine sections on returning people from spain, saying it had to act. we must

ta ke spain, saying it had to act. we must take these measures to avoid the risk of reinfection into the uk, given the very serious spike of cases in spain. spain's foreign minister insists the country is safe to visit and is talking to the uk about excluding the canary and balearic islands from the quarantine. two—time oscar winner dame olivia de havilland who starred in, the wind has died at the age of 104. sports day is coming up soon. first, the - review. hello and welcome to the film review with me, mark kermode, rounding up the best movies available for viewing in the home and in cinemas. remember them?

the big movie news this week was that the release of christopher nolan's tenet has been delayed yet again due to coronavirus. yet despite the shock waves caused by that announcement, uk cinemas are starting to welcome back patrons, with movies like the killer crocodile picture blackwater abyss now playing in theatres, and the russell crowe action unhinged still due to open wide on the 31st. this week, the us indie pick st francis takes a delayed bow in nearly 100 uk cinemas. i'm tired. we just started walking. will you carry me? let's go back and get the stroller. no! we're almost there, it won't take long if you carry me. the park is really close? come on.

you're sweaty. # i wonder where friends...# the brilliant future debut from writer and star kelly o'sullivan, this is a vibrant and emotionally engaging tale that dresses a subversive self—determination manifesto in the clothes of a ditzy, bittersweet comedy about midlife disappointment. have you nannied before? i've babysitted...sat. do you know how to open this? o'sullivan plays bridget, a 30—something waitress who finds herself facing an unwanted pregnancy at around the same time that fate conspires to offer her new employment as a nanny. francis? will bridget‘s avowed child—phobia prevent her from caring for six—year—old francis, and what will her employers, one of whom is devoutly religious, think of her decision to have a termination? directed with loose—limbed intimacy by alex thompson, st francis is refreshingly frank on a number of subjects that mainstream cinema has often considered to be taboo. from menstruation and postnatal depression, to birth

control and abortion. your sperm are probably super fast. that's a compliment. thank you, thank you so much. i appreciate that. it's also terrifically funny and heart—warming, with intimate, hand—held cinematography giving us the impression that we're eavesdropping on genuine conversations and encounters. but what's most impressive is how much the incidental details of this frank and feisty film ring true. why was she angry? because she was born into a patriarchy and it effing sucked. what's a patriarchy? it's where men are in charge and women have to do what they say. like michaela coel‘s outstanding tv series i may destroy you, st francis expands the representation of women's lives on screen in a manner that's so casual, you hardly notice it's happening. i am proud of you. i'm so proud of you, frannie. whispering: i'm not frannie right now. oh, sorry.

i loved st francis, and i have no hesitation in recommending it. it's well worth a trip to the cinema. # i once was lost, but now am found...# all right, well, that was neither amazing nor graceful. also opening in a number of uk cinemas this week is stage mother, in which jacki weaver plays maybelline, the director of a conservative texas church choir, who inherits a san francisco gay bar when her estranged son dies. maybelline's husband is a straight—arrow stick in the mud who refused to accept his son's sexuality, causing the family to split apart. are you ricky's mom, from texas? but now, maybelline sees a chance to make peace with the past, to become a surrogate mum to the boys in the band and turn a rundown drag show into a crowd—pulling success. back in the ‘90s, films like priscilla, queen of the desert and to wong foo, thanks for everything, julie newmar provided multiplex—friendly portrayals

of drag culture, along with mike nichols's the birdcage, a star—studded us remake of la cage aux folles. now, whatever those films' flaws, they seemed at the time broadly ground—breaking. but in the age of rupaul‘s drag race, it's hard to see what ground, if any, is being broken by stage mother. there's literally nothing new or original about splinters director tom fitzgerald's movie, from a script by brad henning, which is content to simply tick every well—meaning stereotypical box. thank heaven, then, forjacki weaver, who was oscar—nominated for recent hits like animal kingdom and silver linings playbook, and who brings a much—needed dose of oomph to a film that, although good—hearted, borders all too often on the bland.

there's both a theatrical and virtual release for il traditore, the traitor, a sprawling drama about tommaso buscetta, a member of the sicilian mafia who turned informant, or pentito, shedding light on the inner workings of the cosa nostra. in competition at last year's cannes film festival, marco bellocchio's ambitious, if not always enthralling, drama depicts buscetta and his family — from whom he was separated by geography and imprisonment, and some of whom he lost to a catalogue of internecine mob violence. the most intriguing scenes are those between buscetta and judge falconi, with these two men from opposite sides of the law finding unexpected kinship and respect.

there's weird theatre too in the courtroom scenes, in which buscetta testifies while mafiosi watch from behind, while mafiosi watch from behind bars, jeering, gesturing, and occasionally taking the stand. it's an epic story, which was the italian entry for the 92nd academy awards' international feature category, but which, for me, lacked the kinetic energy with which, for example, scorsese's goodfellas took a true—life crime saga and turned it into something genuinely cinematic. this is a place you come where you can dance and scream and be with your own kind, and where everything is possible. but how do i get there from here? transformation is at the heart of how to build a girl, adopted by screenwriter caitlin moran from her autobiographically inspired bestseller. what a beautiful day!

i regret to say that, despite my best intentions, today has been another miserable one. well, missy, i've had plenty of those. beanie feldstein plays johanna morrigan, a studious mid—90s schoolkid with dreams of becoming a writer, who discovers that an unbridled enthusiasm for the annie soundtrack isn't what the hip rock press are looking for. have a free t—shirt. good god, it's the child catcher. so, she reinvents herself as bad girl dolly wilde, a top—hat—wearing whirlwind who wins awards for writing the kind of scathing reviews that make her feared and famous, but also leave her feeling empty and unfulfilled. like gurinder chadha's blinded by the light, how to build a girl has a rough—and—ready energy that's hard to resist, sprinkling its streetwise tale with elements of ecstatic musicalfantasia. however awful it is on earth, if you go high enough, it's always summer. it's a credit to feldstein that the wobbliness of her

wolverhampton accent never comes between us and her character. instead, we simply get on board with her adventures, as she resolves to rip it up and start again. you're both mad asjesus, and new to abroad? come on, we're going out. how to build a girl is available on amazon prime. from wolverhampton to paris for alice, the prize—winning feature debut from australian writer—directorjosephine mackerras. emilie piponnier is the woman with a child and an apparently loving husband, who suddenly disappears after squandering all their money on high—class prostitutes. facing foreclosure on her home,

alice turns to the very escort agencies to which her husband was addicted, finding a new line of work which proves unexpectedly liberating. originally written as an english—language film set in london, alice has a somewhat rose—tinted view of sex work that sits comfortably — or should that be uncomfortably — within a certain strand of chic cosmopolitan french cinema. what raises us above the level of mere movie cliche is the efficiency with which mackerras evokes the personal and financial catastrophe facing our heroine in the first act. we really do get the feeling of watching someone's life suddenly falling apart — thanks, in no small part, to emilie piponnier‘s performance. plaudits too to martin swabey, who is eerily convincing as the perfect partner, who turns out to be a loathsome creep. alice is available on selected digital platforms. # trolls, they want to have fun

# yeah, trolls just want to have fun...# back at the beginning of lockdown, trolls world tour was one of the first major studio films, intended for cinema release, that instead went straight to streaming services. poppy, you know you can't go back on a pinky promise. from monday, you can own it on dvd and blu—ray to watch over and over and over again — a prospect that will doubtless delight some kids, while terrifying their parents. a pinky promise! dang! i'll leave you with news that bong joon ho's oscar winner parasite is back at the curzon mayfair in london and on curzon home cinema in the black—and—white addition unveiled at the rotterdam film festival earlier this year.

according to director bong, all the characters look even more poignant, and the distinctions between the different spaces where the families live, with all the shades of grey, are even more tragic. that's it for this week. thanks for watching the film review. stay safe, and i'll be back next week. i apologise. hello, i'm olly foster, here's what's coming up on sportsday tonight. final—day drama at the bottom of the premier league, aston villa are staying up. despite a win for bournemouth, it's not enough to keep them up. watford are also relegated.

manchester united will play in the champions league next season after beating leicester, the foxes miss out. and england turn the screw at old trafford, only the weather can save the windies now. hello and welcome to sportsday. slightly later than scheduled. the premier league season is over, the title was settled weeks ago, but there was still a lot at stake today, especially at norwich had already been relegated and bournemouth and watford will go down with them. aston villa doing just enough to stay in the top division. here's our sports

correspondent, joe wilson. 4pm. aston villa, 17th. by a hair's's breath. watford only one goal of difference behind. bournemouth three points further back. that is how it began. ready? a penalty for arsenal against watford. four minutes gone, watford's troubled deeper. bournemouth suddenly glimpsed and escaped. here's their penalty against everton. 24th minute at arsenal, a wave goodbye in watford's direction. goodness, already, they'd let in another, 2—0. make that three. goals conceded equalling the number of managers watford sacked this season. well, hang on! they pulled it back to 3—2 in their game! in the final minutes of the season, bournemouth were flying. a third goal against everton all they could do. remember aston villa, the team in green? just one chance for their most skilful player, jack grealish. through the hands of the goalkeeper, 84th minute, aston villa were sure.