hello, this is bbc news. the headlines... the mayor of greater manchester accuses boris johnson of exaggerating the spread of coronavirus in the area to try to persuade local leaders to accept tougher restriction as he calls for increased financial support. anywhere could end up in tier three this winter. in fact, i would say places are likely to end up in tier three. therefore, it's everyone‘s concern to protect the lowest paid in our

community. the earlier we have the restrictions, in those areas where there is high instance, the better for the economy of those areas because we stop the infection spreading in a way which will do further damage to the economy. the government says there have been nearly 17,000 more cases of coronavirus in the uk, reported in the last 2a hours, and a further 67 people have died. there's fierce debate over possible further lockdown restrictions in wales — that could last for up to three weeks. an annoucement could be made in the next 2a hours. vigils and rallies are held across france after a teacher was killed close to his school in a paris suburb on friday. sportsday is coming up, but first here on bbc news...

the film review with mark kermode. 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. there are several high—profile documentaries released this week, including two very different portraits of two very different swedish figures. we are in the midst of the sixth mass extinction, deforestation of our great forests, toxic air production, loss of insects and wildlife, the acidification of our oceans. these are all disastrous

trends. in i am greta, nathan grossman profiles teenage climate activist greta thunberg. from the lonely anonymity of her first school strike outside the swedish parliament in stockholm to her speech to the un in new york where she upbraided the leaders of the world for failing to address a crisis that's destroying the planet. this is all wrong. away from the spotlight, we get glimpses of her more private life, of the personal toll these public appearances have taken upon her, her homesickness and longing to get back with her beloved dogs, and, perhaps most importantly, her experience of aspergers which taught her to deal with being unpopular when young and then helped her to focus on a problem that few others seemed keen to face head—on. time is running out. of course, as greta herself says, our own focus should not be on her but on climate change — and an issue that perhaps sits uneasily with a documentary which, by its very nature, is about her.

but causes need figureheads, and there's no doubting that's what thunburg's become, albeit at the cost of a normal childhood. you can find i am greta in cinemas now. you can't escape your work, and you cannot escape yourself either. it is almost like a prison. 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 in 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 0livier‘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, lily james 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 history,

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 cinema 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 archives 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. 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, and welcome to sportsday

— i'm gavin ramjaun. lots to come on today's show. west ham come back from three down, to get a draw at tottenham in the final seconds of the game. the pressure pays off for brighton, who leave it late for share of the spoils with rivals crystal palace. miedema makes history, in the north london derby, which sees arsenal crush spurs to stay top of the wsl. and a first grand tour stage win for britain's tayo gaygan—hart, at the giro d'italia. as his rivals falter. hello, and welcome to sportsday. well, what a match to tell you about in north london

this evening. gareth bale was the talk of the town — ahead of tottenham's premier league encounter with rivals west ham. and with spurs 3—0 up and cruising at half—time, the stage was set for bale‘s long awaited return to the spurs side off the bench. the hammers had other ideas though — launching an incredible comeback — with drama right through to the final seconds. adam wild reports. the surroundings may have changed, the reception perhaps a little quieter than he dreams of, but this was gareth bale making himself at home once more. the substitute‘s bench a tonne i'm not quite the plan, but when his new team—mates are playing like this even he could only sit back and marvel. against west ham, it took under a minute for the opening goal to be scored. just moments later, spurs were at it again. tone and making things look very easy. just over a quarter of an hour in, they had a third. and that is the way it stayed until, with the game seemingly one,

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