from a swedish activist to a swedish film—maker, roy andersson, the subject of fred scott's strange and rather wonderful documentary being a human person. having scored a hit with his first feature a swedish love story in 1970, andersson, who reacted badly to success, took five years to make his second film, the poorly—received giliap, after which he concentrated instead on commercials and shorts. setting up his own studio in an empty building in stockholm, he created a world in which he had total control and from which he produced his living trilogy. songs from the second floor, you, the living, and the venice golden lion winner, a pigeon sat on a branch reflecting on existence. working this way is messy because it's about roy's feelings. scott's documentary takes us inside that studio as andersson and his team toil away

at his typically painstaking latest film about endlessness, which opens here in november. as always, every detail of the film is constructed within the studio conjuring scenes in which nothing is left to chance, but andersson, who thinks this film will be his last, is also confronting his own demons in the form of alcoholism with which his colleagues and family are losing patience. i'm not very surprised, but disappointed. negotiating a very thin line between celebration and investigation, scott's melancholy doc watches andersson at work, observing both the perfectionism that he demands and the frustration of those who have to deal with his increasing unpredictability. inevitably, there's a sense of an ending at play, with andersson clearly struggling to finish what's being called his final film and thereby confronting his own mortality. but scott does a terrificjob of highlighting the humanism at the heart of andersson‘s absurdist work, exhibiting the same sympathy that runs throughout his subject's surreal tragicomic movies.

you can find being a human person on curzon home cinema and in theatres, along with a touring retrospective of three of andersson‘s features. imagine if you could bottle a memory like scent... ..and whenever you wanted, you could open it. be like living the moment all over again. daphne du maurier‘s novel rebecca was first filmed by alfred hitchcock in 1940, with joan fontaine as the young woman swept off her feet by laurence olivier's wealthy widower maxim and installed in his palatial home manderley as the second mrs de winter. now, ben wheatley, director of sightseers and high—rise, has revisited du maurier‘s novel via a screenplay co—written byjane goldman, whose impressive credits include kick—ass

and the woman in black. may i present mrs danvers. welcome to manderley. in this new version, in cinemas now and on netflix from the 21st, lilyjames is the heroine haunted by the ghosts of armie hammer‘s past, while kristin scott thomas steps into the iconic role of housekeeper mrs da nvers, previously and memorably filled byjudith anderson. she could wear anything with a figure like hers. you've been tossing and turning all night... bad dream? it's the differences between this and the hitchcock that are the new film's strongest suit. unlike her predecessor, james‘ nameless central character seems to have a little more agency in her story, less of a helpless victim of fate. there's also more passion and less of an age difference between maxim and his bride, with early scenes of their blossoming romance containing a spark absent from previous screen incarnations. never forget it. but perhaps the most striking detail of wheatley‘s rebecca is in the character of danvers,

for whom the director exhibits much sympathy despite her sinister reputation. a sympathy with which scott thomas plays deliciously. she was the love of his life. the result may not be a classic, but it does at least stand in its own light, earning its place at a worthy adaptation of an enduring literary source rather than a pale imitation of somebody else‘s movie. just as du maurier‘s rebecca has inspired a range of films, tv shows and even stage adaptations, so sheridan le fanu's 19th century novella carmilla has spawned numerous screen spin—offs from danish director carl dreyer‘s vampyr to hammer‘s the vampire lovers to the spanish schlocker the blood—spattered bride. is she all right? careful with her. is she breathing? is she all right? take her up these stairs. whispers: back to your

room immediately! in the new british movie carmilla, from writer—director emily harris, german—turkish actress devrim lingnau is the mysterious stranger whose unexpected arrival at an english country estate in the late 18th century stirs rebellious passions in lara, played by hannah rae. dress...doesn‘t look like that on me. handsomely lensed by michael wood in dreamy hues that, to my eye anyway, recall jose larraz‘s ‘70s odyssey symptoms, this take on carmilla invokes and then pointedly sidesteps the vampiric lore embedded in sheridan le fanu's source. don't be afraid. instead it conjures a world in which our heroine‘s dawning sexuality is perceived as the real threat to be driven out by any means necessary. while this new carmilla may lack bite and will probably prove too restrained for genre audiences, i rather like the fact that it wasn't afraid to indulge in some over—egged images of writhing bugs and decaying nature while steering

clear of the more sensationalist tropes that have characterised so many of its predecessors. it's in cinemas now and on vod from monday. sounds of eating and cutlery clinking. someone keeps stealing my knife. clapping. silence. wives, daughters. . .thank you. rather more adventurous is the other lamb, an international co—production from polish director malgorzata szumowska about a religious cult in which a group of cloistered women follow a manson—like controlling shepherd, creepily played by dutch actor michiel huisman. raffey cassidy is selah, the teenager whose coming of age coincides with a questioning of the clearly abusive regime in which she's being raised. it's the most natural thing in the world, selah, and the most sacred duty.

written by award—winning australian screenwriter catherine s mcmullen, and eye—catchingly shot in county wicklow, the other lamb follows films like the wicker man, martha marcy may marlene and, more recently, midsommar in its convincing evocation of the everyday madness of cult life, cut off from the mainstream society which shepherd describes as broken. do you remember when he used to look at us like that? but like the handmaid's tale, to which this also owes a debt, there are echoes, too, of a more familiar world in its depiction of a charismatic male charlatan leader proclaiming his own divinity while lauding it up over his followers, inflicting his clearly self—serving beliefs upon women who he claims to revere but actually enslaves, exploits and abuses. sound familiar? you can decide for yourself by watching the other lamb in cinemas or on mubi. my twins will be 18 next month. they have absolutely no idea what it means to have a father in the house.

what fathers even do. i'll leave you with news of another documentary, this one available in select cinemas and on amazon prime video. focusing on an african—american family torn apart by imprisonment, time offers a very personal and intimate account of one woman's struggle to raise her children while her husband is serving a 60—year sentence for a robbery they both committed back in the ‘90s. on other end of phone: we don't have anything. alrighty, thank you so much. drawing on a wealth of home video footage shot by sibil fox richardson, aka fox rich, to document the life robert was missing while behind bars, sundance prize winner garrett bradley's profoundly affecting film investigates the toll that imprisonment has taken upon a mother and her children outside of those prison walls. there's a real poetry to the monochrome film—making, with superbly edited archive intercut with contemporary footage, creating a time—shifting

montage that ebbs and flows in lyrical, musicalfashion. the subject matter may be tough, but this superb documentary is as uplifting as it is eye—opening. when you get him home, they're going pay, they're going pay, they're going pay. that's it for this week. thanks for watching the film review. stay safe, and i'll see you next week. i'm what's called a lady's companion. if a lady has to pay for company, that says something about the lady, doesn't it? hello there. two weeks ago today, the uk recorded its wettest ever day. so, it has been on the dull side today, but it certainly could have been a lot worse. we had a few scattered showers, particularly in the south west. some nuisance showers here and some light, patchy, drizzly rain across the far north east. but extensive cloud quite widely. so weather watchers looked a little bit like this. still quite beautiful for taking a walk on the beach in cornwall despite that thick cloud. and enjoying some of the autumn

colour that we've got quite widely across the country at the moment. now for this evening, we will continue to see some of that cloud breaking up across england and wales, and where that happens, maybe some patchy mist and fog forming. weak weather front continues to move out of scotland into the north of england, enhancing some light, drizzly rain from time to time. temperatures falling away into single figures. so, we're going to start off sunday with that weather front still producing a little bit of light, drizzly rain here and there. the isobars widely spaced, so light winds through the day. an area of low pressure waiting in the wings to arrive a little later on. so, make the most of sunday's quiet story. it's not going to last. now, we will have a few isolated coastal showers. and with lighter winds here, they could be pretty slow—moving at times. but it's a quiet story. it's a rather grey story with light winds across the country and temperature speaking with similar values to the last few days really, 8—13 degrees, a tad under parfor this this time of year. now, by the end of the day, that low pressure is starting

to push in and we'll start to see some wetter weather moving in from the west. the isobars squeezing together once again. the winds tending to strengthen particular we we've got the rain. so, into northern ireland and western scotland, we have some gusty winds, somewhat weather through the day. cloudy overhead, and there may be some early brightness if we're lucky in the far south east. the winds picking up generally and starting to swing round to a southerly direction. so, it does look as though temperatures will start to climb up a little, not too much, but we could see highest values of 15 degrees by monday afternoon. more wet weather with low pressure not too far away as we move into tuesday. and again plenty of isobars on the charts. we could have gale—force gusts of wind into the far north and the west with that rain. so, it does look as though, as we head into next week, an unsettled story. windy at times with some rain as well, but a little milder. take care.

this is bbc news. i'm lukwesa burak. the headlines at 7... the number of covid—related deaths in the uk in the last 24—hour period rises to 150, with more than 16,000 new coronavirus infections recorded. millions of people adjust to tighter coronavirus restrictions in england, but there's still a stalemate over greater manchester. french police say samuel paty, the history teacher who was beheaded in a suspected islamist attack, had been threatened for several days. a landside election victory for new zealand's jacinda ardern, widely praised for her handling of the coronavirus pandemic. thank you to the many people who gave us their vote, who trusted us to continue with leading new zealand's recovery.