' the ' it ‘ui%i iii“ fii‘rfi“ 'the paper but do about a is it for the paper but do about a paper in the morning won't you? for a review coming up next, night hello, and welcome to the film review with me, mark kermode, rounding up the best movies available for viewing in cinemas and in the home. when times are tough, people often look to the movies to lift their spirits, and what better way to do that than with a romcom — like new release the broken hearts gallery? what?

why are you getting into my car? what are you doing? for lyft, silver prius. adolpho, i have had the worst night of my life. this isn't a lyft, this is my car. hello? i'm sorry. no, i'll cancel. you're not adolpho? who are you?! my name is nick. geraldine viswa nathan, the break—out star of blockers, plays lucy, a 20—something compulsive hoarder who keeps mementos of all her failed relationships and cannot let go of the past. you just drove me home? are you insane? stranger things' dacre montgomery is nick, the conveniently attractive wannabe hotelier into whose car she falls on the rebound from her latest break—up. nick dreams of creating a bijou meeting point called the chloe hotel, but aspiring curator lucy convinces him to let her use his beloved building to exhibit the leftover fragments of lost loves. of course. we could use the help. you start tomorrow. get us the coffee — nothing with actual dairy. he gets really sensitive in his tummy. i hate both of you. written and directed

by natalie krinsky, whose writing credits include work on gossip girl, the broken hearts gallery aims for the same smart, sassy vibe as the big sick or lena dunham's tv show girls, both of which seem to be sources of inspiration. the dialogue is self—consciously snappy, not least in the scenes between lucy and herflatmate, whose relentless quickfire snarkiness is both a contrivance and a joy. as for the plot, it hits all the romcom beats in a manner that's so formulaic as to be almost parodic. yet as someone who loves romcoms, i enjoyed the combination of old—fashioned cheesiness and thoroughly modern post—sex in the city feistiness. we're in business, baby! at the heart of it all is viswa nathan. she's fantastic in the central role, delivering withering one—liners with the ease of a standup comedian but also bringing a believability to the role of lucy which anchors this often fanciful drama. a treat, too, to see bernadette peters in a supporting role, reminding usjust how brilliant she was in thejerk all those years ago and what a unique

screen presence she continues to be. the broken hearts gallery is in cinemas now. at the opposite end of the dramatic spectrum, the painted bird is an unremittingly harrowing drama adapted from the 1965 novel by being there authorjerzy kosinski. petr kotlar is astonishing as the young jewish boy who wanders the barren landscape of eastern europe during world war ii and whose unspeakable sufferings become a symbol of the wider atrocities playing out around him. the enigmatic title refers to an incident in which a caged bird is adorned with paint and then released back into its flock,

who promptly attack it, mirroring the status of this boy who's variously seen as a demon or a curse to be violently driven out. written and directed by vaclav marhoul, the painted bird premiered at venice last year, where it prompted reports of mass walk—outs and standing ovations — dividing opinion between those who thought it was a philosophical masterpiece and those who thought it was just a grotesque horror show. inevitably, neither is true. like the contentious novel from which it draws inspiration, the painted bird offers a remarkably distressing and convincing portrait of man's inhumanity to man that proceeds episodically from one hellish encounter to the next. it's a formally accomplished piece, but at nearly three hours in length, it's numbingly relentless — a catalogue of suffering that lacks the soul—shaking power of, for example, the hungarian oscar—winner son of saul. it's also weirdly distracting to encounter what are effectively

extended cameos by the likes ofjulian sands and harvey keitel, whose voices had to be dubbed into the film's inter—slavic dialogue, suggesting that they were chosen more for their saleable star power than their suitability for the roles. the result, which was beaten to the venice top prize byjoker, is a strange mix of artwork and endurance tests. you can find it in selected cinemas and on digital platforms now. i took the spectrum, the sonic spectrum, that the unborn baby hears in the womb... ..which is basically no high frequencies because the mother's body filters all of that. so, i've used that spectrum for almost the entire piece. now, if you're a regular viewer, you'll know that i'm a huge fan of composer max richter, whose music features memorably in films like hostiles,

never look away and mary, queen of scots. back in 2015, richter unveiled sleep, an eight—hour lullaby designed to be experienced nocturnally, mirroring the changing moods and patterns of the human sleep cycle. since then, the piece has been performed in full at night in front of audiences who are given beds rather than chairs and who are invited to experience the music awake, asleep or somewhere in between. what happens in the brain is you've got lots of cells, and they're all doing their own thing. but when you fall asleep, they come into concert more and move as a group. in natalie johns' documentary max richter‘s sleep, the film—maker follows the composer and his creative partner, yulia mahr, as they mount an open air performance in los angeles while also looking back at their life together and the elements which contributed to creating this extraordinary work. while the music may have been specifically designed to have a soporific effect, this documentary is quite the opposite, offering a fascinating

insight into the working process of one of my favourite composers. my advice would be to watch the film — preferably in a cinema, although it's also on digital — and then retire to bed with the album and enjoy a wonderful night's rest. papa! dad, are you 0k? papa? sally potter is the distinctive british film—maker behind movies as diverse as 1992's orlando, a gender—crossing drama from virginia woolf's novel, and 2017's the party, a wickedly satirical, star—studded tragicomedy. her latest film, the roads not taken, is an anglo—american drama featuring javier bardem as leo, a writer with dementia living in new york whose mind takes him to mexico and greece as he drifts in and out of his present—day surroundings.

elle fanning, who worked with potter on ginger and rosa, is the daughter attempting to take her father to the dentist and the optometrist, while laura linney is the ex—wife called in to assist. why does everyone continue to refer to dad as he? as if he's not here? well, is he? leo's thoughts are elsewhere, experiencing a parallel narrative in which salma hayek‘s dolores plays a key emotional role. dad! no. a clearly heartfelt drama about being there and not being there, the roads not taken will strike a chord with anyone who's struggled to deal with that strange blend of presence and absence that comes with dementia. as the title suggests, the film sets out to depict not only the lives that might have been but also the inner lives that we do not see — an admirable intention, but one that's only partly successful. personally, i found the film's fractured structure more cerebral than emotional, a puzzle to be solved rather than experienced on a gut level.

what if he regrets his decision to leave? bit too late, isn't it? but there's no faulting the cast, who play their roles with conviction, while robbie ryan's gorgeous cinematography lends an intimacy that, for me, was sometimes lacking elsewhere. now, on last week's show, i talked about les miserables — currently playing in uk cinemas — and noted the debt that it owed to la haine, mathieu kassovitz‘s electrifying urban drama which celebrates its 25th anniversary with a 4k cinema re—release. a tale of three friends from diverse cultural backgrounds living the bonheur life in the shadow of rioting and police violence, this is actually a much gentler,

more contemplative experience than i remembered. there are shades ofjim jarmusch‘s stranger than paradise in the deadpan interaction between the central trio, adding an element of affectionate humour that makes the underlying tragedy all the more affecting. superb performances make every word and step seem real, while pierre aim's monochrome cinematography has never looked more crisp or beautiful. the title may mean hate, but what shines through after a quarter of a century is love. i'll leave you with news of another reissue, bong joon—ho‘s memories of murder. a tragicomic serial killer thriller from 2003, this early feature from the director of parasite documents a blundering police force's inability to capture a murderer

who seems incongruously motivated by sad songs and rainy days. inspired by an infamous case that haunted korea in the late ‘80s, bong's unsettling anti—procedural offers a strange mix of brute force and heartbreaking melancholia as the cops impotently rage with their feet and fists against an enigma that demands an altogether more thoughtful solution. it's disorientating stuff, a world away from the predictable formulae of most mainstream western crime thrillers and an indication of the extraordinary cinematic talent that would go on to produce such genre—busting gems as the host, snowpiercer, 0kja and the 0scar—winning parasite. you can find memories of murder in cinemas and on curzon home cinema, where you can also watch bong's first feature, barking dogs never bite. that's it. thanks for watching the film review. stay safe, and i'll see you next week. oh, my god. it's locked. this is the end!

it's unlocked. 0h. 0k. good night! thanks! hello there. we've seen quite a mixture of weather to start the weekend. for england and wales, plenty of sunshine, as you can see on the satellite picture. further north, through the afternoon, we have seen cloud spread into northern ireland and scotland and the north west of england as well. in the sunshine, it was a lovely day to be out on the beaches in st ives. the waves just coming in, quite small waves here, whereas in western scotland, the waves looked rather bigger. that's because the winds have been strengthening and we are seeing cloud and rain edge in as well. that rain should appear on the radar picture, and it's working into northern ireland, scotland and across northwest england too. now, we probably will see a little bit of patchy rain getting into the western side of wales for a time overnight. but it is across northern ireland and scotland that we will see the rain being particularly

persistent and lasting throughout the night, really, in a number of places. across the midlands, east anglia, southern england, it's dry with clear spells, and it's a mild night for all of us, really — 12—14 degrees for the overnight lows. now, tomorrow from our rain band not really in a hurry to move away from these western hills of scotland — where we could see in excess of 100 mil metres of rain by the end of the weekend. so some localised surface water flooding is a possibility. england and wales, sunshine develops widely, and i suspect this cloud across northern ireland, central and southern scotland will have a tendency to break up through the afternoon to allow some sunny spells. but it is across eastern england where we will see the highest temperatures. a warmer day, highs of up to 25—26 in london and norwich, and that warming trend is set to continue into the early stage of next week with a brief hot spell on the way. the reason for that, this area of high pressure is just slipping a little bit further eastwards. it's allowing southerly winds to develop and move in across a good chunk of the uk. and it's those southerly winds that are dragging in that hotter air from the continent. so, weather—wise, where we still have the threat of a little bit

of rain across the northwest of the uk, where it stays cloudy here, temperatures probably around 20 degrees or so. but where the sunshine comes out, it's going to turn increasingly hot. across parts of southeast england, including the london area, we should see temperatures hitting around 30 celsius. similar heat around on tuesday, again, the hottest weather across areas of eastern england. but it will be warm across northern england and across parts of wales as well. now, through the rest of the week, there is a tendency for those temperatures to gradually drift lower and a bit closer to normal by the end of the week. that's your weather.

this is bbc news. i'm lewis vaughan jones with the latest headlines for viewers in the uk and around the world. history in the making in doha, as the afghan government and the taliban sit down for peace talks. police on the greek island of lesbos fire tear gas during a protest by migrants who've been homeless since their camp burned down on wednesday. "0n the edge of losing control" of coronavirus — a warning from one leading britsh scientist as 3,500 uk cases are recorded for a second day. sir terence conran — the designer who revolutionised home design in britain — has died at the age of 88. japan's naomi 0saka fights back from a set down to win her second us open grand slam title.