poland's rafael majka by 16 seconds, with 2018 tour de france winner geraint thomas 23 seconds further back. the final stage is a 10 kilometre time trial. italy's franco morbidelli won the san marino grand prix to claim the first moto gp win of his career. his yamaha team mate fabio quartararo lost his championship lead after crashing twice forced him to retire from the race at misano. morbidelli got a brilliant start from second on the grid to overtake pole sitter maverick vinales and then lead the race to the chequered flag. that's all from sportsday. remember you can stay right up to date with all the day's sport on the bbc sport website, but for me and the rest of the team it is good bite from us at. up next it is the film review. —— good buy from all of us.

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 and 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 author jerzy 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 dorbed 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 01’ 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 those. 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 0rlando, 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 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 will go on to produce such genre—busting gems as the host, snowpiercer, 0kja and the oscar—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 not locked. 0h. 0k. goodnight! thanks!

a lot of fine weather today and it is going to be even warmer tomorrow, perhaps up to 30 celsius and a couple of hot days in the south—east. for most, it will not be quite so warm, but certainly warm enough. this is what it looks like this evening, still in the low or mid 20s in the south, look at western scotland, it has been raining here for nearly 2a hours. gale force winds around the coast as well, so totally different picture, but the rain is moving away through this evening and by the end of the night, it is pretty quiet across most of the uk. clear skies in the south, temperatures down to around ten in the midlands. 1a for belfast and for glasgow so a mild start to monday. monday's weather forecast, the last of the rain should clear from the western isles, might be bits and pieces of light

rain here and there, but nothing more than that. sunshine for many of us and hot weather in the south—east, up to 30, mid 20s at least across yorkshire. goodbye.

this is bbc news, i'm lukwesa burak. the headlines at 8pm: thejustice secretary defends the government potentially breaking international law over changes to the brexit withdrawal agreement. this is a collective will on the part of the government not just to prepare for the worst, but also to protect the internal workings of our united kingdom. that is responsible government. concern from care home providers over access to the government's coronavirus testing programme, as infections rise. a stretch of the m5 has been closed in gloucestershire after a serious collision involving several vehicles. the husband of nazanin zaghari—ratcliffe — the british—iranian woman jailed for spying in iran — says there's a "confusing game" going on between two governments,