really, to argue that he it is hard, really, to argue that he is behaving well. so i'm afraid he has got this coming to him. geraldine, very quickly to my do think this matters more to the british public or the royalfamily? that's a difficult one. i think the british_ that's a difficult one. i think the british public may be see it as a little _ british public may be see it as a little bit — british public may be see it as a little bit up, you know, talking about— little bit up, you know, talking about this lifestyle that he found very difficult, and i'm sure was in many— very difficult, and i'm sure was in many ways, — very difficult, and i'm sure was in many ways, but it is still a lifestyle _ many ways, but it is still a lifestyle that many of the british public, _ lifestyle that many of the british public, i— lifestyle that many of the british public, i think i'm a dream of. so it does— public, i think i'm a dream of. so it does stick— public, i think i'm a dream of. so it does stick in the throat a little bits come — it does stick in the throat a little bits come about, of course, it is also _ bits come about, of course, it is also difficult for the royal family, the pr_ also difficult for the royal family, the pr hit— also difficult for the royal family, the pr hit they have taken over this has not _ the pr hit they have taken over this has not been well received, so i wouldn't — has not been well received, so i wouldn't be surprised, i suppose if there _ wouldn't be surprised, i suppose if there was— wouldn't be surprised, i suppose if there was some come back to that as well. , . . ~ there was some come back to that as well. , ., ., ,, , ., there was some come back to that as well. , ., ., ~' , ., , well. geraldine, tim, thank you very much indeed- _ well. geraldine, tim, thank you very much indeed. i— well. geraldine, tim, thank you very much indeed. i do _ well. geraldine, tim, thank you very much indeed. i do need _ well. geraldine, tim, thank you very much indeed. i do need to _ well. geraldine, tim, thank you very much indeed. i do need to say - much indeed. i do need to say congratulations, of course first two leicester city and the foxes, let's just very quickly show one of the pictures on the front pages. we haven't got it, but if you've missed

it, leicester city have made history today. we are going to be back at the top of the hour with more news. for now though, cheerio. hello and welcome to the film review with me, mark kermode, rounding up the best movies available for viewing in the home and in cinemas. the big news for film fans is that from monday, uk cinemas will start to reopen and many award—winning movies that

are ready available on streaming services will be among those first titles welcoming viewers back to the big screen. the way i see it is that the titanic is sinking and economic times are changing. and so my goal is to get the lifeboats out and get as many people into the lifeboats as i can. most notable is nomadland, the best picture winner from chloe zhao who recently became only the second woman ever to win the oscar for best director. inspired by the stories injessica bruder�*s nonfiction source book, nomadland stars frances mcdormand as fern, a recently widowed woman who joins america's nomadic community, discovering a new life on the road. i know you. yeah, hi. dave, right? guess. fern? yes. — i have your can opener. having just picked up her third best actress oscar, mcdormand who was also a producer, used the academy award stage to ask viewers to "please watch our movie on the largest possible screen". fitting since this western inflected road movie is beautifully lensed byjoshua james richards,

packed with lush american vistas that demand to be seen in the cinema. but mcdormand wasn'tjust flying the big screen flag for her own movie, calling on film fans to sit shoulder—to—shoulder in that dark space and watch every film represented here tonight. well, due to social distancing rules, audiences won't quite be shoulder—to—shoulder, with cinema owners spacing their customers out in line with covid protocols. but you do still get the shared audience experience. something that's crucial to a film like sound of metal in which oscar nominee riz ahmed plays a drummer whose life is turned upside down when his hearing suddenly fails. the world does keep moving and it can be a damn cruel place. but for me... ..it was just moments of stillness. that place, that's the kingdom of god.

a labour of love from director and co—writer darius marder, sound of metal is boosted by the kind of brilliant sound design that's best experienced in cinemas. it's also presented with open captions, ensuring that deaf and hearing audiences can watch the film together, something that was of key importance to the filmmakers. there are new movies opening and cinemas too, ranging from peter rabbit 2 to those who wish me dead, which i'll review on next week's show. and then on wednesday the 19th, there's a one night only special event screening of the short film the human voice from spanish director pedro almodovar. you have to come! that's what we agreed on, that you would come. you don't say goodbye to a woman you've loved for more than four years with a telephone call! based on a play byjean cocteau, almodovar�*s english—language debut stars an axe—welding tilda swinton, talking on the phone to a lost love who may or may not really be there. presented with an audaciously

cinematic theatrical framing device, the human voice is vintage almodovar and will be screened in cinemas with a pre—recorded q&a with the director and star. are we cut off? or did you hang up? if you don't fancy venturing outdoors quite yet, there are plenty of new movies available for viewing in the home. back in 2010, spanish director rodrigo cortes's claustrophobic thriller buried found ryan reynolds awaking in a coffin, in which he would spend the entire rest of the movie. now that scenario is echoed in oxygen, the new film from french director alexandre aja. this time it's melanie laurent who's trapped in a box.

a high—tech cocoon in which her air supply is gradually running out. woman yells. while reynolds was able to communicate with the outside world via a cell phone, laurent has milo, a computer with a carefully modulated voice that's meant to be calming but in fact has overtones of the politely murderous hal from 2001. she also has futuristic video screens through which she attempts to rediscover her own forgotten identity, triggering memories of the past, or are they simply hallucinations? engagingly written by christie leblanc, oxygen is an efficient potboiler that makes little sense but has a lot of fun putting its heroine through her enclosed genre paces. ideas are lifted magpie—like from a range of other movies, from ridley scott's iconic blade runner to german director patrick vollrath's cockpit bound thriller 7500. yet somehow laurent makes these riffs seem fresh

and original, breathing new life into age—old themes. as for director aja, whose career ranges from the nail—biting terrors of switchblade romance to the enjoyable creature feature thrills of crawl, he does an impressive job of cranking up the tension, even if the audience does guess most of the twists long before they happen. woman screams. not a film to be buried with them, perhaps, but it entirely passable slice of popcorn entertainment nonetheless. you can find it now on netflix. altogether more down to earth is some kind of heaven, an eye—opening documentary about life in the villages, the worlds largest retirement community in the heart of sunny florida. the villages is like being on vacation every day. it is like going off to college. you come here to live, you don't come here to pass away.

there is no place like this. this is nirvana. described as disneyland for retirees, the villages has a reputation for offering the elderly a second lease of life. but first time feature director lance oppenheim find something else in the form of four residents who don't quite fit the idyllic profile. i'm just saying for me, it hasn't been the fantasyland that i thought it would be. there's barbara, a widow hoping for love who still hasn't found what she's looking for. there's anne and reggie, the latter of whom is harbouring a growing drug dependency which will [and him in hot water. and then there's dennis, living out of his van, determined to find a woman who can give him what he needs most — a home. you need a handyman, don't you? i don't care. co—produced by black swan director darren aronofsky, some kind of heaven began life as part of oppenheim's undergraduate thesis and blossomed into a sundance assisted indie hit. oppenheim says he wanted to figure

out why thousands of retirees were isolating themselves in a truman show like bubble world that reminded them of their youth. very nice spacing. appropriately, cinematographer david bolen plays up the air of artifice, filling his frames with candy coloured images that draw inspiration from films like tom haynes' safe and tim burton's edward scissorhands. the result is a revealing portrait proving that elderly life is no less eventful than the madness of youth and wondering where it might lived in a theme park rather than the real world. we have too much fun down here, you know? it's available from dogwoof on demand and other streaming platforms. dad, will you read me a story? of course. do you promise you will remember the monsters? promise. from spanish—born, london—based filmmaker chino moya comes undergods, a twilight zone style anthology of future tense tales laced with graveside humour. this is extraordinary.

bookended by a pair of corpse collectors prowling the grim streets of an unspecified desolate european city, the film spins stories within stories. in one, with echoes ofjg ballard's high—rise, a humdrum couple in an empty apartment building are thrown into disarray by the unexpected arrival of a neighbour. in another, a business man goes looking for his lost daughter after double—crossing an eccentric designer, and in a third, a wife and mother discovers her inner voice in her former partner returns from a forced labour camp. this is a boring story. have some patience. it hasn't finished yet. moya describes his featured debut as inhabiting a limbo in which stories and characters move between 20th century failed utopian empires and 21st century

low—cost ikea nightmares. in each story we see a bourgeois family unit descending into some kind of feral chaos, triggered by a crisis within the central white male character. the message may not be subtle but what moya's film lacks in nuance it makes up for in terms of ambition, with arresting visuals and out their performances, not least from that magnificent kate dickie who slips effortlessly between humour, pathos and weirdly smiling horror. you can find undergods in cinemas and on a range of digital platforms from monday. on the subject of dystopian futures, i'll leave you with news that lizzie borden�*s ground—breaking �*80s film born in flames has recently resurfaced on the streaming service mubi. we are all here because we have fought in the wars of liberation. and we are all bear witness to what has happened since the war. we still see the depression from the oppression that

still exists both day and night. it's a provocative work that mixes elements of documentary—style reportage with a sci—fi inflected alternative history narrative. you know, you're pressed too and it's pathetic that you can't even see it. look, we know there are problems, we're aware of that _ but things are so much better than they were before. - it also features kathryn bigelow who would go on to helm the best picture winner the hurt locker, becoming the only woman ever to win the oscar for best director, until chloe zhao's recent victory for nomadland which brings us right back to where we started. i'll take you there by the staple singers plays. that's it for this week, thanks for watching the film review. stay safe and i'll see you next week. so that's what i'm looking for, a relationship. a relationship. long—term. with money, laughing. i read it on your eyes!

hello there. the first half of the weekend brought plenty of showers for most of us. it may well be that the second half of the weekend brings even more showers, and some of them will be really heavy with hail and thunder — but always with some sunny spells in between. we start sunday with the band of cloud and patchy rain across parts of northern england and southern scotland. showers from the word go across the southwest of england and wales, and those will become more widespread into the afternoon. some will be very heavy with frequently lightning and hail. some pretty gusty winds, especially down towards the south. temperatures between 11—16 celsius at best. through sunday evening, the showers will continue. most of them will fade away overnight and into the early hours of monday. there will be some clear spells as we start monday morning, and it will be a relatively chilly start to the day. although, i think most of us will avoid a frost. and then into monday and indeed through the week ahead, we can expect more of this sunshine and showers weather. some of the showers very heavy thundery, temperatures below where they should be for this

time of year.

this is bbc news, with the latest headlines for viewers in the uk and around the world. i'm philippa thomas. israeli warplanes destroy a tower in gaza housing international media. president biden calls leaders on both sides, expressing grave concern about the escalating violence. extra testing across the uk for the variant of the coronavirus first detected in india, as doctors raise concerns about the easing of restrictions. fa cup winners for. the very first time... leicester celebrate beating chelsea in front of the uk's biggest football crowd since the pandemic began. and china successfully lands its first rover on mars.