it's fertile farmland. it's very attractive for geese especially. you're battling against nature really here. and the pigs can play a role on this front line. they sure can, yeah. these are sensitive, intelligent creatures, so i am curious about how they feel being so close to the runways. here they've got, like, four soccer fields. they have the same houses, the same water system and feed system. so it is really normal to keep them this way. these snuffling swine are part of a six—week pilot project, and if they are successful in keeping the birds and geese away from the runway, then similar projects could be trotted out at airports

all over the world. anna holligan, bbc news, schiphol. that's what you call a pig and clover. now it's time for a look at the weather. hello there. temperatures speaking in cardiff close to 20 celsius. clear skies here and there but also to the north and west, patchy light rain and drizzle, heavier rain getting close to northern ireland, wales and the southwest later in the night, but temperatures generally overnight in the mid— single figures, looking at 10— 13 for quite a few in the morning. sunshine first thing, perhaps the midlands, a lasting longest in the southeast corner because we have rain in the west to begin with, spreading its way northwards and eastwards, heavy at times, cloudy skies into the afternoon, but cloud the micro sunshine or cloud, it'll be a case

of temperatures up where they should be from this time of year. some of that rain still heavy in places, drive for a time in a monday night, but as democrat more wet weather arriving from the southwest later on, and wet and windy weather for the first half of the week, but after a mild start it'll turn colder later on. hello, this is bbc news. the headlines. �*0ur hearts are shattered', the family of mp sir david amess call on people to set aside hatred, show kindness and love, and work towards togetherness the home secretary, priti patel, says she is looking at a "whole spectrum" of measures to better protect mps, including on social media. i think it's fair to say we all have to be incredibly self—aware, conscientious, as to how we conduct our business and put safety front and centre of this. the ceremony for new environmental award

the earthshot prize is underway, hosted by the duke of cambridge and after almost two weeks, the bbc understands that brighton and hove city council have reached a deal with the unions to end the bin strike in the city and, baring it all forart, the new photoshoot from artist spencer tunick involves hundreds of people getting their clothes off at the dead sea in israel now on bbc news, it's time for talking movies.

hello from the bfi london film festival and welcome to talking movies, i'm tom brook. in today's programme, highlights in one of the uk's biggest annual film events. the movie, spencer, brought kristen stewart onto the red carpet with herfictionalised portrait of diana, princess of wales. we were so influenced and inspired by this woman. a personalised memoir of his belfast childhood from kenneth branagh. in black and white, is it his version of the oscar winning roma? the story of the film is this nine—year—old boy finding a way to navigate with his family through this period of intense change. acclaimed film maker edgar wright on the festival carpet for the first time with his dark valentine to soho in the 1960s. i've never had a film in the london film festival and i think i've been coming here since 1994. when this opportunity came up, it was like, well this is perfect. i said i think we should go to russia. and documentaries including one looking at the women who protested at greenham common

against the proliferation of nuclear weapons. one of the big red carpet attractions at the london film festival this year was the movie spencer which gave festival—goers a fictionalised portrait of diana, princess of wales, when she spent christmas with the royal family at sandringham in 1991. it presents diana as being psychologically vulnerable and under the controlling grip of an unsympathetic royal household. it's an image of a british icon that's been shaped very much by outsiders. the film maker is chilean pablo larrain, and the woman who plays diana is the american actress, kristin stewart. emma jones reports. bringing a story about the so—called people's princess to london where diana, princess of wales, lived for years was a big moment for the cast and crew of spencer. it stars an american, kristin stewart, is directed

by chilean filmmaker pablo larrain, and was partly made in germany. but there's a supporting cast of british actors, and stewart feels the film belongs to britain. do you think this is a british film as well? absolutely, oh my god —, ifeel like we're bringing it home for her completely. i mean, one of the reasons it's fun to talk about this movie existing at all is that we get to have her again even if it'sjust through the inspiration that she gave to pablo and stephen and myself. i definitely don't profess to be giving her another platform to exist but, you know, she exists through what lingers. it's her influence, its the things that she inspired and we were so influenced and inspired by this woman. it'sjust nice to, it's nice to have it keep going. not that anyone would forget her. there has to be two of you. there's the real one and the one they take pictures of. the story, a weekend over

a miserable christmas that diana spends with the royal family, is fictional. but stewart's performance and her resemblance to the princess has a ready attracted critical acclaim where the film has shown. i tried to absorb her as best i could, in a kind of spiritual way and not get so fixated and sort of like debilitated by trying to do a perfect, perfect impression because she felt so alive and she felt so spontaneous and, sort of, earthshaky, that the only way to really do herjustice would be to kind of learn the accent and stuff technically, but then forget about it and be free. she was, like, the least free woman for a long time but her desire forfreedom and her ability to attain it was so strong energetically that that kind of was impossible to nail. it's written by oscar nominee stephen knight. since he wrote it, the emmy—winning netflix series the crown became one of the most watched tv series in the world, the audience fascinated by their interpretation of charles

and diana's marriage. the british royals may be an ultrawealthy and privileged family but the heart of this story, knight says, is a domestic situation. i didn't read any of the books or watch any of the films or anything but talked to people who were there at the time and tried to look through the keyhole via those first—hand accounts of what actually went on. and how weird we all are, how weird every family is, how weird we all are at christmas and all the weird things we do. and they're no different. the rest of the royal family are seen from diana's perspective, and given the interest in their lives, as well as the person of diana, even a quarter of a century after her death, the film will self generate headlines for its leading actress. well, i know every acting job must be like, you know, giving yourself to people. did you feel any more trepidation? um... yeah, i mean, it's such a controversial subject.

this movie has no answers, it's just asking those questions, so i knew—, i was afraid of people maybe thinking that we weren't leading with love and with curiosity. and as outsiders i was just kind of scared that maybe people would be like, "you have no right". that was the biggest fear, not that i wasn't good in the movie. the movie will succeed if audiences feel that larrain and stewart, amidst the gothic fairytale feel of spencer, have delivered the woman and not the icon. the movie industry around the world, and that of course includes major events like the london film festival, is still operating very much in the shadow of covid—19. the organisers of the festival here in london made a big effort to prevail under challenging circumstances and, to a large extent, they succeeded. more than 150 full—length features are shown during

the festival including more than 20 world premiers. there was certainly a more buoyant atmosphere at the london film festival this year compared to 12 months ago. the film festival really missed the physical aspect last year. it was a virtual festival and i missed it terribly, i missed places like this, i missed gathering with the london film folk. and i think we've had a, a sort of glut of films that have waited for the big screen experience that the london film festival can give them, so we are seeing some really strong and powerful films this year that have got that buzz and that excitement going again, which is important, notjust for a london film festival, it's important for cinema culture in london — we've got to get people back out of their sofas and into these theatres. the world premier of the newjames bond movie and its record—breaking opening weekend box office certainly helped to create a positive, optimistic mood in the days leading up to the festival. bond right now is the only show in town.

certainly in this town. 772 screens around the nation, it's the widest opened film ever. good luck going to try and see a film that isn't bond in uk cinemas this weekend. and i really thought it was a tremendous bond movie, a very different bond movie, but one that nevertheless is essential viewing. and daniel craig's tenure as bond has been essential to keeping that franchise going, and he's magnificent in it — a british actor who's a global star, probably the biggest star that everyone�*s talking about in the world right now, and it's been a long time since that mantle has belonged to a brit. and there's a film directed by british film maker ridley scott opening at the box office this weekend — the last duel. what have you heard about that? the historical drama is a difficult one at the moment. do people want to see these epics anymore? ridley scott's had success with the sci—fi, the fantasy genre, but his epics, robin hood, for example, have been less successful and i'm wondering if that's an appetite that belongs to a bygone era.

well, we caught up with ridley scott and he talked to us about the last duel and gave us some impression of how he thought it would perform at the box office. i tend to play big internationally and less big in the united states. particularly now china, japan, italy and france. and so they love the period thing. i request a duel to the death. and ridley scott is really pleased that his film is going to be seen finally in cinemas, a sentiment widely shared at the london film festival, where many movie—goers were finding joy once again in the cinema going experience. we can't let that go awayjust because we have platforms of what i like to call towers of ether, �*cause you pull the plug and they're gone. i think cinema is essential. we have to keep those rooms open as soon as we can get rid of... we'll never—, it's gonna be a while before can get rid of this terrible thing that's occurring but i think it will eventually go

and cinema will definitely return. many of the films shown at the london film festival were launched elsewhere. at the venice, telluride, toronto and new york film festivals, but the opening picture, a western called the harder they fall, was a world premiere. it comes from a british filmmaker who is also a singer songwriter. we asked bbc culture film critic nicholas barber to review the picture for talking movies. think of an actor who has played a sheriff, or an outlaw, or a cowboy in a western and you might picture clint eastwood orjohn wayne. whoever it is, though, the chances are that the actor you think of will be white. because although one quarter of all real—life cowboys were black, the proportion on—screen has always been much, much smaller. james samuel's the harder they fall

goes some small way towards redressing that balance. samuel is a black british musician and producer whose debut film is a revenge western in which almost every character, hero or villain is played by a black actor. the main hero, played byjonathan majors is nat love — a sharpshooting vigilante who rides around montana, gunning down wanted criminals and becoming a wanted criminal himself in the process. the main villain, played by idris elba, is rufus buck, a ruthless bandit who murdered nat�*s parents when he was a boy. so when rufus is sprung from his prison cell by his loyal sidekicks, among them lakeith stanfield and regina king, nat is soon in hot pursuit along with his own gang, including his on—off girlfriend played by zazie beetz and a marshal played by delroy lindo. i don't know who you are. the interesting thing is that race and racism aren't subjects which come up too often.

they're mentioned once or twice, but samuel has chosen not to write an overtly political screenplay. he lets the casting make his point that african—american characters have always been underrepresented in westerns, but the film itself is a riproaring, blood splattering tale of bank robberies and shootouts with an energy and an attitude taken straight from quentin tarantino. the harder they fall is hugely entertaining and seriously stylish in a post—modern sort of way. the soundtrack bursts with hip—hop and funk and reggae, and production design suggests a graphic novel or a music video rather than a traditional western. rufus buck's saloon, for instance, is painted deep blue and gold and the dancer inside is painted deep blue and gold as well. as radical as the casting is, the most remarkable aspect of samuel's film is that you soon stop noticing the colour of the characters and start concentrating on the colour of the costumes and the buildings instead. the harder they fall certainly went

down well here in london where it got the festival off to a rollicking start. sir kenneth branagh's new film, belfast, had its london launch during the festival. it is a very personal story about his own experiences as a young boy growing up in a protestant household in belfast in the 1960s, just as the troubles began to make an impact. the story is told from the point of view of the young boy who is played brilliantly by newcomerjude hill. for kenneth branagh, this is a film in which he had a huge emotional investment. it is based in part on a tumultuous time in his tightknit belfast community where the pressures brought by the troubles eventually led to his family moving to england. life of the boy at the centre of the film, branagh, is most definitely disrupted. it is a semi—autobiographical

account of a nine—year—old boy whose life is very settled and full, which is then turned upside down. and the story of the film is this nine—year—old boy finding a way to navigate with his family through this period of intense change. it is a very personal story, why did you want to tell, or put together a film about this part of your life at this moment in time? i think the lockdown provoked a sense that the story of a film, which has its own lockdown, a street that has a barricade erected at either end of it and which you have to register to get in and out of, had for me some resonance with the kind of life that we have had to live in the last 18 months. we're trying to have a peaceful march for civil rights... we're gonna have these guys... over the years the conflict

in northern ireland has provided filmmakers with strong ingredients for dramatic storytelling. many films addressed aspects of the conflict directly. in kenneth branagh's belfast, the troubles are evident — they are not really explored. the film is set during a very tumultuous time, a political time, but it is not a political film, is it? no, i think that because it is seen so purposefully through the ideas of a nine year old, this is someone who doesn't really understand, will be forced to, but doesn't understand that level what politics really means. for him it is a big enough challenge, and it is a simple, and ultimately for the world it is a profound challenge, to understand, well, why are these people i was playing with yesterday now people i can't play with? kenneth branagh's black and white memoir has been likened to alfonso cuaron�*s 0scar—winning roma of a few years ago.

belfast was well received in london, as it has been elsewhere on the festival circuit, particularly the toronto film festival where it won the people's choice award, often a precursor to academy awards glory. there were many strong documentaries in the london film festival lineup this year, and among them, mothers of the revolution, which took a look at the thousands of women who participated in protests at greenham common in berkshire over the proliferation of nuclear weapons. emma jones reports. we knew there was this place called greenham common, with foreign missiles on our soil. we had to do something. we knew we were crazy, but we had to do it. a0 years ago, in 1981, a group of women marched from wales to raf greenham common in the countryside surrounding london, in protest at american nuclear weapons being kept at the british base. they stayed. they say the fear of nuclear

annihilation spurred them on, despite years of hostility from some press and public. the idea of more publicity from this film didn't necessarily appeal. ifelt apprehensive, to be honest, because having lived at greenham, and knowing what the media focus was on about greenham, and then i finally met briar, and i remember saying to her, "you are not going to make us look like idiots, are you?" because that had happened at greenham. and she said "no, i wouldn't do that to you." and i think really very quickly, itrusted her. all these women with one purpose, had come together. narrated by actress and politician glenda jackson, the film shows the consequences these protesters paid. some left children behind at home, they often suffered brutal treatment. that was the first time i was really scared.

we got targeted in the press, in the early days, very specifically — so the daily mail did a double page spread on us and basically classed us as terrorists and things like that, and bad mothers, and our children should be taken away from us, and all this stuff. yet the documentary argues the greenham women have their place in history. mikael gorbachev of the soviet union would name them later as an influence after he had signed a treaty with ronald reagan in 1987 that would lead to the removal of nuclear missiles from the base. why do you think it has taken so long for a definitive documentary about these women to be made? i think it is because greenham was a women's peace camp, and women, what women do never gets given as much attention. you can'tjust stay at home, you have to go... the film's pink and yellow branding echoes the sex pistols�* iconic album cover and makes its own call

to modern—day female activism. some of those original protesters might prefer the purple, white and green of the suffragette movement, as they argue they were the movement's successors. these women changed our future. welcome to soho, which has long been home to a section of the british film and television community. and this year, one of the big titles at the london film festival is set right here in this neighbourhood. it's a picture called last night in soho, and it comes from acclaimed british filmmaker edgar wright. set in the present day, it tells of a london fashion student who travels back in time to the 1960s. the film is the story of fashion student eloise�*s harrowing journey. freshly arrived in london, she is transported back to a world

of excitement and horror in the 1960s soho underworld. edgar wright told me why he wanted to make this movie, partly set in the 1960s. it is an obsession with the decade, starting with my parents�* record collection. and then it was an attempt to so explore why i was so obsessed with the decade i was not alive in. and then the dangers of romanticising the past, and the danger of using phrases like the "good old days" to imagine everything was great and nothing was bad. and in terms of genre, people describe the film as a psychological horror, is that how you see it? yeah, i guess by the nature of the story it starts as one thing and slowly morphs into a psychological thriller. i think that represents eloise�*s journey in the movie. her trips back into the 60s are initially very glamorous and alluring, and then they take a darker turn. last night in soho is a film which really references the 1960s, especially its music and cinema.

so it is a celebration of all that was wonderful about british film in the 60s, hammer house and peeping tom, the powell and pressburger, all of that, all of those elements are there, and yeah. # you got worries, all the noise and the hurries... the works of the 1960s classic pop female vocalists like petula clark are omnipresent throughout edgar wright's movie. i feel like those songs by the female singers of the time, they are big and emotional, heart—rending ballads though they always seem like they are stained with tears. there is something sort of melancholic and about them and bittersweet, which i always pick up on, and that is why i wanted to feature so many of them. last night in soho is providing audiences with an unsettling trip back to the 1960s, suggesting the feelgood decade was not all it might have appeared to have been. i think what you are trying to say with this film is, there was never a period in history

where everything worked right. don't look back to the past but the good times, create them in the present, create them in the future, that is the ultimate message. edgar wright's film had a big following in london, but it seems to have divided critics. some were impressed, others felt the movie was unwieldy and that it didn't totally satisfy in delivering horror or social commentary. well, that brings our special bfi london film festival edition of talking movies to a close. we hope you have enjoyed the show. please remember you can always reach us online, and you can find us on facebook and twitter. so, from me, tom brook, and the rest of the talking movies team here in london, it's goodbye, as we leave you with a street musician performing in leicester square. # well you only need the light

when it's burning low # 0nly miss the sun when it starts to snow # 0nly know you love her when you let her go... # 0nly know you've been high when you're feeling low # 0nly hate the road when you're missing home # 0nly know you love her when you let her go # and you let her go.# good evening. i do miss the season which can bring this drastically different read their conditions from one week to the other and they'll be the case this week. to begin with, the case this week. to begin with, the next few days, times are pretty wet and windy weather developing before sunshine and something called her arrives later in the week. with that wet and windy weather comes in very mild conditions and pressure out to the mid—atlantic and wind

swirling around picking up the warmth all the tropics but as the weather pushes his words, the colder air comes of the sunshine towards the end of the week. that is a few days away and with that motor air even more milder and starting to push its way in. cordis conditions will be in the parts of east anglia and subsystem the mittens were roots of the clear skies seven or 8 but the routines in the west but will see the clout they can with the bricks of rain in the morning. during rush hour sprint was northern ireland through the morning and dwells in southwest england, heavy at times in that room will be happy at times in that room will be happy at times in that room will be happy at times and pushed eastwards, some just about staying dry and breading in the west later and after the morning sunshine, east anglia will be the end of the afternoon with the rain starting to develop your. some of which will be heavy in the channel islands stop temperatures across the country will be around 1a to run 17 or 18 and they'll follow through into tuesday but once the batch of rain goes through, have your bursts of rain started to push into its southwest as we go into the

morning. my alternate three, to be 15 not be higher than what we expect in the afternoon. and in the north atlantic, it will be drying the warm airjust ahead of atlantic, it will be drying the warm air just ahead of these other fronts. even though be warm, to be quite wet and breezy for many want to stay with the bricks of rain pushing towards the north woods and eastwards immersed persistent across scotland but we will see some in northern ireland later into the afternoon in the southeast and east anglia and it is here that many sunshine will live temperatures above 28 . wherever you are, wet, mild, it is going to be one of those warmer days of the week. then into wednesday, south—westerly winds with us and not as modest tuesday but we'll see the spreading of low pressure with smother airflow pressure with smother airflow pressure with smother airflow pressure with batches of heavy rain and strong winds. when push its way north to its way north woods and eastwards through wednesday and brighter through the side of it but england and then another weather system works its way towards the southwest. temperatures still above

average to the south, cooling off to the north and it will get cooler for all as we go into thursday and friday.

this is bbc news, with the latest headlines for viewers in the uk and around the world. "our hearts are shattered" — the family of mp sir david amess call on people to set aside hatred, show kindness and love, and work towards togetherness. the uk's home secretary, priti patel, says she is looking at a "whole spectrum" of measures to better protect mps, including on social media. i think it's fair to say we all have to be incredibly self—aware, conscientious, as to how we conduct our business and put safety front and centre of this. at least 15 christian missionaries from the united states are reported kidnapped by an armed gang in haiti. and it's a wrap for a russian film crew that's just returned back to earth, after shooting a movie in space.