, it-‘usn m "a , nwrwrfi : mmru : ii‘ul‘ei «ww 3 it-‘uc—z run mm 13 il1-‘u3 rl il1-‘u3sil «ww 13 ll1-‘l3 rll ll13l3ll ml" useful though is the data that gets produced to enable local authorities to act in the right way on a city basis or a town basis rather than a regionwide one? well, we need that timely collection of data and not only the test data, we need to also collect data from gb kohl's, nhs 111 , collect data from gb kohl's, nhs 111, hospital a&e attendances and hospital admissions. 111, hospital a&e attendances and hospitaladmissions. now, 111, hospital a&e attendances and hospital admissions. now, we may find that the local data is not comprehensive enough, but to be honest, nationally, we are collecting this data and what is lacking is the timely sharing of that data locally. in fact, the data should be available at the same time locally as it is nationally, rather than have a built—in delay. doctor from the university of exeter, a lwa ys from the university of exeter, always good to get your perspective. thank you very much. now on bbc news, it's time

for the film review with anna smith. hello and welcome to the film review with me anna smith. i'm filling in for mark kermode to review this week's releases. first up, a film that's on digital and in some cinemas now — perfect 10. a gritty british drama in the vein of andrea arnold's fish tank. it stars frankie box as a 14—year—old gymnast called lee who suddenly discovers she has an older half—brother.

are you lee? frankie lives outside brighton with a neglectful father she rarely sees. she loves gymnastics, but she's picked on by the other girls. whenjoe knocks on the door announcing that he's her brother and he's come to live with them, it's the first lee has even heard of him. he's given me permission to come stay here, so... here i am, lee. but instead of resenting joe — who's played by fellow newcomer alfie deegan — this lonely teen finds hope and solace in his company — hanging out with him and his mates on their mopeds. it's not really for little girls. i take it that's why you can't do it. lee, hey. she didn't mean that. it's an absorbing depiction of enforced intimacy in very difficult family circumstances. aside from lee's sympathetic gym teacher, gemma, adults are very much in the background, allowing these young performers to develop their characters and the complex feelings they're experiencing.

lee's growing fixation with her brother leads to some uncomfortable, intense moments. there's thematic common ground with carol morley‘s excellent film the falling here. but the overriding mood is of tenderness and hope. scottish writer/director eva riley is definitely one to watch. this week's biggest cinema release is called an american pickle. it's a comedy starring seth rogen in two different roles — as an eastern european immigrant who wakes up 100 years in the future and his great—grandson. in 1919, factory worker herschel greenbaum falls into that of pickles and is miraculously preserved, waking him up in present—day brooklyn — where his only surviving relative is a hipster called ben —

who tries to help herschel adjust to modern living. grandson! grandpa! after the pair have an unlikely fall—out, herschel reinvents himself as a pickle salesman, which leads to amusing observations about our fickle and faddish culture. mm, yeah, that's straight from the devil. but the tone then shifts wildly and often, flitting from a fish out of water comedy, to absurdist humour, to political satire. it eventually settles into a kind of soul searching jewish family drama that feels very personal to its screenwriter — simon rich — who adapted this from his novella called the sell—out. # you're not alone.# following a long tradition of actors playing against themselves, rogen handles multiple roles well. he's more michael keaton in multiplicity then he's more michael keaton in multiplicity then jean—claude van damme in double impact and strong visual effects and costumes aid the illusion. is this your mother? no, that's also david bowie. but he's working with limited characters and his old—fashioned immigrant routine feels

uncomfortably stereotypical in a film that preaches tolerance towards other cultures. i've had my seth rogen moments, but this isn't one of them. next up, papicha, a spirited drama set in 1990s algiers and inspired by real events during the civil war. it's a story of friendship, rebellion and resistance, with equal amounts of heartache and joy. lyna khoudri stars as nedjma who is known as papicha. she's a lively, modern student who dreams of becoming a fashion designer.

thanks to a well practised system of subterfuge, she and her friends regularly dodge curfew and go out clubbing — dancing as if they don't have a care in the world. the film's infectious youthful energy and musical rhythms recall films like celine sciamma's girlhood, but as mounia meddour‘s film reminds us, jihadist danger is always around the corner. islamic extremist posters on campus tell women into cover up from head to toe or they will be "ta ken care of". sudden devastating hit scenes have the power of a classic mafia movie. it's an important film that has plenty to say about gender, power, trauma and resilience. lyna khoudri is a true star. we will next see her in wes anderson's film the french dispatch. papicha is on digital and in some cinemas now.

a different perspective on extremism comes from young ahmed, the story of a teenager who plots to assassinate his schoolteacher. this is directed byjean—pierre and luc dardenne, the belgian brothers whose realist dramas are beloved by the cannes film festival, where they won for best director last year. played by gifted young actor idir ben addi — ahmed is a muslim 13—year—old who frustrates his mother by refusing to shake his teacher's hand. radicalised by a local iman, ahmed believes his tutor is an infidel, and events take a dramatic turn.

ahmed ends up injuvenile detention.