country when it's our election, and in the same way that that doesn't always translate to victory in this country, doesn't translate to victory in the us. now, joe biden is doing better in the national polls than hillary clinton was at the same stage, but of course, there is still just under a month ago. so, stage, but of course, there is still just undera month ago. so, a stage, but of course, there is still just under a month ago. so, a lot could still happen, but, also, it won't be about the national polls, it's almost certain that the democrats will win the most votes nationally, as they have done in all but one of the presidential election since 1992, but it's not about that. this election will come down to probably the results in six states. those six key states will determine the results, and yes, joe biden is doing better in those states than donald trump at the moment, but there is a large margin of error and nothing can be taken for granted. i think he's definitely the favourite at the moment but he's definitely the most likely to win, but it cannot be guaranteed, and that places borisjohnson in a very difficult position because he obviously wants to embrace the

person most likely to win, but he can't do that if he runs the risk of really alienating an incredibly thin skinned and shall we say grudge bearing donald trump. those are very harsh words. i feel that i must defend him in some way. please do. so, that's my attempt at doing so... joe, benedicte, lovely to see you, i do wish you were here with us, but for now, we can't be. we can dream, can't we? yes, we will look ahead and hope. keep well, both of you, thank you very much. that's it for the papers tonight. do buy a subscription to the paper, what you? coming up next it's the film review. good 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. film fans were disheartened this week by news of the temporary closure of cineworld and picture house cinemas following the announcement that the release of the tent pole bond movie no time to die has been delayed yet again. it's been pushed back to 2021. a number of odeon cinemas also closing during the week. the news is grim but cinemas are still open. with independent cinemas in particular striving to serve those eager to watch movies on the big screen. and if you're looking for a reason to go to the cinema then look no further than saint maud, the brilliant british chiller from writer—director rose glass.

bless amanda's body, which is hurting now but has done so many wonderful things. and bless her mind which is shrouded in darkness. and reach out to her like you did to me. amen. morfydd clark plays the titular private carer, nursing jennifer ehle‘s amanda, a dancer now facing the spectre of death. can you feel that? maud's duties include tending to amanda's physical needs cooking, cleaning, administering medication and basic physiotherapy. but having recently discovered god maud is more interested in saving amanda soul. indeed, she's convinced that the almighty has put her there with that specific purpose and she is going to do god's will weather amanda likes it or not. he's here? while trailers have been selling saint maud as horror film, in the mould of hereditary, glass's electrifying feature debut is actually closer in tone to such

foreign language offerings as requiem or stations of the cross. like those films, saint maud is a character study centred on a troubled young woman who comes to believe that god or maybe the devil is working through her. a possibility that glass has carefully kept open ended. he's everywhere. but, that doesn't mean it isn't scary. i've seen saint maud three times and i've jumped at every viewing. each time in a different place. but what gives the film its power is the fact that it's also a heartbreaking tale of loneliness. a study of isolation and obsession that deftly balances the inner and outer world in which maud lives. clark, who displayed perfect comic timing in the personal history of david copperfield, and is currently co—starring in eternal beauty is astonishing in the central role. a portrait of somebody who may not be as innocent as they seem. which runs the gamut between classic, unstable

and writhing physical exertion. ehle too is terrific as the world—weary bohemian who views maud's faith with a number of wonder and contempt. isolated by her own failing health but seemingly guarding secrets behind her wry smile. save my soul. as for rose glass, she establishes herself as a major new voice in british film. brilliant in the intimate kitchen sink pathos and shrieking supernatural surrealism often within the space of a single scene. this really is one of the best films of the year. you can find it in cinemas now. 0k, 0k just give us until friday. you'll have 1,500 cash bills. we'll have it by friday. dude, we need a little time to get it together. friday tomorrow? that's tomorrow? critics' darling miranda july is an american indie institution. a writer, director, and actor whose work also includes books, monologues, and dance performance art. there is no doubt that

she is a force for good and an inspiration to many. all of which makes me wish that i like her movies more than i do. but having struggled with the quirkiness of me and you and everyone we know, and being driven to distraction by the crazy talking cats of the future, i found myself admiring without actually enjoying each allies new and indeed best film, kajillionaire. and clear. now! evan rachel wood stars as old dolio — no, really — put upon daughter of small—time hustlers deborah winger and richard jenkins, whose makeshift apartment is constantly besieged by pink foam — no, really. don't touch, don't touch the table. i have been through tremors a lot smaller than this and it turns everything electric, just zap. into this self—consciously kooky trio, who spend much time awaiting the apocalyptic big one comes gina rodriguez who is excited by the idea of working a big fan of ocean's 11 to and who promptly becomes the recipient of all the affection 0ld dolio never got.

you never called me that. what follows is a delayed coming—of—age tale stuffed with zany tropes like the current earthquakes, disconnected hot tubs, heart—warming pancakes, and characters who burst into tears when they have conditions that mean they can't control their emotions, while others emotions and just spend the whole movie mumbling. we can only ever be how we are. somewhere in the middle of this comedy without jokes there is a universal message about parental legacies and the need to be loved and nurtured. a message that does seem to have struck a chord with july's diehard fans. but for me there's a very thin line between quirky and irksome. and far too much of kajillionaire is spent pootling around in a kind of goofy melancholy tragicomic haze that left me lonely for the acid dyspepsia of todd sullins was up. 0n the plus side the score by emile mosseri, who worked wonders on the last black man in san francisco, is hauntingly off kilter. striking just the right balance between romance, ethereal awkwardness,

and slapstick heist beats. but the rest of the movie struggles to achieve. if you want something genuinely original then why not try beyond the visible. a very intriguing documentary about one of the most important artists you may never have heard of. in order to tell the history of abstraction now you have to rewrite it because, basically, all the people said it happened in this year, well, no, it didn't. the swedish artist hilma af klint trained at the royal academy of arts in stockholm in the late 19th century, where she mastered still life, portraiture, and landscapes. but she was looking for something deeper. something which penetrated the physical, spiritual, and even molecular nature of the world. and so, against the advice of her elders, she began experimenting with abstract

geometric shapes producing works that eerily prefigure the later more celebrated paintings of kandinsky and mondrian. the fact that hilma af klint was effectively written out of the male art history cannon is just one of the subjects explored in halina dyrschka's thrillingly enlightening doc. a film you'll find engrossing even if, like me, what you know about art doesn't fill a postage stamp. using extracts of her notebooks, modern interviews, dramatisations and a wealth of stunning visual material, beyond the visible builds up a portrait of an artist who is genuinely groundbreaking and yet who was pushed to the sidelines by those with a vested interest in maintaining the status quo. beyond the visible is being released on a range of platforms including cinemas, galleries and virtual screenings. you can find details

at modern films.com. # ‘cause i've heard it all before. # and i've been down there on the floor. # no one‘s ever gonna keep me down again...# it's kind of angry. well, it's empowering. it's a celebration of what it means to be a woman. it's man hating. the pop biopic‘s a strange beast with even the best ones like the buddy holly story or what's love got to do with it, frequently resorting to cringe—inducing cliches. # i am woman... but when it comes to toe curling contrivance and flat out naff storytelling, i am woman, the helen reddy story, is up there — or should that be down there — with the 1989 tv movie, the karen carpenter story. and that's a shame because reddy, who died last week, had a life and career that was path breaking, remarkable, and even at times revolutionary. everything this cheese—fest movie is not.

tilda cobham—hervey is the australian single mum who arrives in new york in the mid—60s, where she encounters a string of chauvinist caricatures who explained to her that women don't sell records because of the beatles or something. i'm going to make $1 million by the time i'm 30. well, i'm going to make 2 million. so she served some depressing time singing in some half empty dives before meeting and marrying manager jeff wald, moving to california, and becoming an overnight success with hit singles and her own tv show. all of this is played out to reddy‘s lip synced hits, strategically placed to emphasise key story beats. so, i don't know how to love him is sung through a glass wall to the husband she doesn't have to love, while ain't no way to treat a lady follows a scene in whichjeff snorts cocaine off a shag carpet, often losing all her money. subtle it ain't. nor is it insightful. despite the uplifting backdrop of the rise of the women's movement, for whom reddy became a flag waver, and the still ongoing battle for equal rights, this pantomime production never gets to the grit of the

heart of that story. even a scene which features a word for word recreation, reddy‘s brief recreation 1973 grammy acceptance speech somehow was manages to make herfamous punch line about god being a woman fall flat — no mean feat. don't get me wrong, i love helen reddy, and her music neverfails to move me. if only this movie, which is in cinemas and on digital, had an ounce of the wit, charm, and sheer power of her songs. we were expecting you an hour ago. sorry. frank, this is this miss lamb, your new guardian. i don't want him. we've all got to do our bit. on an altogether more uplifting note, summerland, which i raved about opened in cinemas injuly, is now available on digital platform and the dvd release is coming on monday. written and directed byjessica swale, this lovely, heartfelt film about matters of life and death features terrific performances by gemma arterton

and gugu mbatha—raw and gorgeous visuals courtesy of lori rose. nobody knows how to be a parent. maintaining an impressive balance between the sly in the sentimental, summerland gently subverts mainstream formulae as it slips between the realists and the romantic. the result is genuinely magical. a ray of sunshine in these dark times. that's it for this week. thanks for watching the film review, stay safe and i'll see you next week. if you're lucky you'll get crushed and then you just die right then and there. immediately. a never—ending void. wow, so yolo. hello. saturday evening may have brought some fiery skies across some parts of the uk, but perhaps a sign of something drier and brighter for sunday. that will be the case for many. still stays on the chilly side, though, and a definite cool start.

but, whilst there could be a touch of frost in 1—2 rural areas, a lot more sunshine around. a bit more in the way of cloud though, once we get into northern ireland, wales, southwest and northwest midlands, a few showers here. a few of them during the afternoon. north of scotland, eastern districts of england, though, showers continue through the day, and it's here where the breeze will be the strongest — making it feel cool once again. but whilst it will be cool across many central and western areas, with a bit more sunshine, lighter winds than saturday, won't to feel quite as chilly as it did. temperatures will drop quite quickly as we go into sunday evening, particularly through central and eastern areas where skies are clearest. cloud, though, rain rolls in towards the west, that will lift the temperatures into monday morning, double figures for some. but expect cloud and rain to spread eastwards across most parts as we go through monday, strengthening winds into tuesday, rain for england and wales especially, and staying chilly.

this is bbc news with the latest headlines for viewers in the uk and around the world. i'm nancy kacungira. president trump makes his first appearance at a public event following treatment for covid—19. first of all, i am feeling great. i don't know about you. how is everyone doing? his rivaljoe biden says he's tested negative, and tells the president to encourage mask wearing and social distancing. the main city is nagorno karabakh comes under shell fire, hours after a ceasefire between armenia and azerbaijan takes effect. borisjohnson is set to announce new measures to tackle the coronavirus in england next week with some areas being warned they are likely to face tougher restrictions.