see some lighter beginning to see some lighter stories on the front of our newspapers and that's a great thing. she will have a big fan club but as you say an ironic twist and don't forget they have to come down headfirst, don't they?” forget they have to come down headfirst, don't they? i guess they don't have to but one assumes that they usually do. similar they don't have to come down on all fours but thatis have to come down on all fours but that is probably the most likely outcome. daisy conversed with her owners and just that i've had enough of this and i'm not going down. you don't argue with a 55 kilo dog, do you? thank don't argue with a 55 kilo dog, do you ? thank you don't argue with a 55 kilo dog, do you? thank you for a book —— joining us. that's it for the papers this hour. by by use of a copy tomorrow. push them up. publishers will be delighted. but is it from us. the film review is next. bye—bye.

hello, 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 shockwaves 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 actioner unhinged still due to open wide on the 31st. this week, the us indie pick saint frances 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 franny is... the brilliant future debut from writer and star kelly o'sullivan, this is a vibrant and emotionally engaging tale that addresses 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. frances? will bridget‘s avowed child—phobia prevent her from caring for six—year—old frances, 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, saint frances 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 saint frances, 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‘ 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 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 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, 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 who watch from behind barsjeering, 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 the 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 school kid 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 a 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 musical fantasia. 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. 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 in 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, but 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 edition 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. it is a fairly wet and windy start to our new working week. we've got low pressure driving our weather at the moment. things will turn drier through the middle part of the week, but for the here and now, we've got a lot of rain that's been pushing its way eastwards overnight. through the day on monday, heavy downpours across parts of northern ireland, scotland, northern england and wales. few showers down towards the south east later on in the day. mostly dry across the north west of scotland, but rather chilly. just 14—21 degrees, and the winds are a real feature, gusts up to 30—a0 mph. as we move through monday night into tuesday, that area of heavy rain and strong blustery winds clears away towards the north—east. we've got a north—westerly breeze coming in, so a bit of a fresher start to tuesday morning. but temperatures for most of us in double figures first thing. during the day on tuesday, expect a day of sunny spells and scattered showers. perhaps some more persistent rain across the north east of scotland. that breeze making things feel a little bit cooler. quite a fresh sort of day with temperatures below average, around about 14—20 degrees. bye— bye.

this is bbc news. i'm james reynolds with the latest headlines for viewers in the uk and around the world. coronavirus spreads into rural india, putting intense pressure on struggling hospitals. we report on the plight of countryside patients. the body of the late congressmanjohn lewis makes a finaljourney in selma, alabama — crossing the famous bridge where he helped lead a march for voting rights in 1965. from beach to lockdown — british holiday—makers returning from spain must now quarantine for 14 days because of a spike in cases there. ashley! and farewell to one of hollywood's greats — double oscar winner dame olivia de havilland has died