get on difficult for young people to get on the property ladder and at the same time we had a decade of wage stagnation since a federal crisis which will only get worse now. and thatis which will only get worse now. and that is being proportionally felt by the young. in a think it's funny but this crisis is you know that when you have financial crises or economic crises of this scale there isa economic crises of this scale there is a scarring effect on your people's incomes and implant prospects which means that the generation who are currently in education are having a terrible time and those coming into the workforce are going to have any clue difficult time and people around my age, new millennialist, they seem to really substantial economic crises in their lifetimes and have not really had much of bounce back from that. and also facing a lot of other economic issues. very briefly, martin, you andl issues. very briefly, martin, you and i not off the hook for quite a while then. it is going to be a long time and at the white to leslie before they can come back but alley behind the curve but i suspect that my kids will have to if they want to

live in london they will have to be with us. that will be a joint. the doublejoy it with us. that will be a joint. the double joy it least if nothing else. you can always move out and not tell them i suppose. they would find me, don't worry. the ultimate loyalty test, they say. thank you, martin lipton and grace blakeley. that's it for the papers this hour. up next, it's the film review. goodbye for now. 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 pollution, 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 asperger‘s 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 — 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 thunberg's become, albeit at the cost of a normal childhood. you can find i am greta in cinemas now.

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, withjoan 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 00:06:50,1000 --> 00:06:51,531 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 zist, 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 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 as 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 ‘705 oddity 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 the 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 he claims to revere but actually enslaves, exploits and abuses. sounds 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 ‘905. 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. we've had a spell of quieter, drier weather, but wetter weather is on the way back. there'll be some sunnier days in the week ahead. there'll also be some spells of heavy rain. windier weather, too. for monday, that heavy rain will be targeting northern ireland and scotland. northern ireland and western scotland seeing the most persistent and heaviest rain. as it continues into monday night, there could be some flooding and a risk of some disruption. some rain at times in northern england becoming more widespread in north west england into the afternoon. some patchy rain in wales. elsewhere may see a bit of hazy brightness. it's a milder day, but the wind will be picking up.

and overnight monday into tuesday, we'll see this area of rain pushing through england and wales, reaching those areas that stay dry during the day. and more rain at times into scotland and northern ireland, though easing away from northern ireland as the night comes to an end. so, on tuesday, then, some early rain in eastern england clearing away. further showers following, particularly to northern ireland and scotland, some intense downpours. windy, easterly winds, and the rain in northern scotland still with us. mild south—westerlies elsewhere.

this is bbc news with the latest headlines for viewers in the uk and around the world. i'm samantha simmonds. president trump addresses supporters in nevada on the latest stage of his election campaign. thousands gather in cities across france in support of the schoolteacher beheaded after showing cartoons of the prophet muhammad to pupils. as protestors defy a ban on gatherings for a fourth day — thailand's prime minister says the government is ready to talk. and un secretary—general antonio guterres urges armenia and azerbaijan to observe their latest ceasefire — describing attacks on civilians as totally u na cce pta ble.