�*them but frightfully accepting of them but also piano have taken a much more old approach to their employees and that's bear in mind that not all employers are perfect and some people have terrible practices going on and we need to highlight those in stem them when they happen. thank ou ve stem them when they happen. thank you very much _ stem them when they happen. thank you very much for — stem them when they happen. thank you very much for tightness - stem them when they happen. thank you very much for tightness through that. thank you for coming on it's great to have your thoughts on the papers. that's it for the papers tonight — goodnight. hello, and a very warm welcome

to the film review on bbc news. i'mjane hill, and taking us through this week's releases as ever is mark kermode. hi, mark, what have you been watching? it's a real globe—trotting programme. we have the worst person in the world, which is a norwegian film that was a cannes prize winner. come back to the us. we have ambulance, the new film by michael bay, set in los angeles. and the south korean thriller, escape from mogadishu. the worst person in the world. yes, now you've seen this as well, which i'm excited to know what you think. so directed byjoachim trier, rave reviews when it played in cannes, renate reinsve won best actress. nominated for two oscars this weekend. it's described by the director as a coming of age film for grown—ups who feel that they still haven't grown up, which i think is a great way of describing it. julie's a young woman who has an aversion to seeing things through. she wonders whether life has already

passed her by and is terrified by approaching her 30s. the film revolves around two main relationships. the first one is with an older man who is a comic book artist who she seems to be perfectly matched to, but they are at different times in their life. she then has a flirtation with somebody. she gate—crashes a wedding, and she has a flirtation with somebody with whom she does not cheat, but spends an evening not cheating. here's a clip.

i think there's something really magical in that sequence and in the look on herface at the end, and in the whole sequence in which they don't have an affair. but then of course, what happens is she's then sort of haunted by the memory of this kind of perfect meeting, which didn't really happen. and there's another sequence later

on in which it's like a fantasy sequence in which she runs across town and the whole of oslo is frozen, with the exception of her and him. it's beautiful, that scene. so clever. and i think... well, look, i think it's a really interesting film. i think her performance is great. i think, you know, you see her character evolve and develop, you know, on screen. i think you see so many different sides of that character. this is the third part of a loose oslo trilogy. somebody said that they use the phrase osloneliness, which i thought was really... because it does absolutely capture the location. that's the sequence of walking through when time is stopped. i thought it had a lot to say about intimacy and about growing up and about, you know, the differences between men and women and young and old. i'm really fascinated to know what you think. i think it's really, really intriguing, beautifully made. it's got a real sense of place. i've never been to oslo, but i feel like i know it now and it makes me really, really want to go there. she is absolutely terrific. there's a big but coming. no, there's not a big but, actually.

i'm still really, really thinking about it in a good way. 0k? there's lots to percolate, and it's divided up into 12 chapters, as they call it. and i wondered, and you know, each one comes up with a number. i thought, "oh, is this going to be really annoying?" and actually, it's not. and it whips through. it does. i mean, before i knew it, i'd watched about two thirds of it. i thought, "crikey! " there's lots of things i love about it, and ifeel like i almost need a week or two to digest it. ok, but that i think is the best thing, is that you do feel like it needs to settle. i mean, the 12 chapters with a prologue and an epilogue is like a kind of literary alusion. it's like a book. it's like a book you can dip into. and you know, she was going to give up acting. she was going to go and become a carpenter — before this role came along. and suddenly, you know, i think she has an incredible career ahead of her. yes, agreed. agreed. i thought there was so much in it that was touching, so much in it that captured that kind of heady rush of infatuation, which is very hard to get right on screen.

yes, i think there's masses to recommend it, actually. really intriguing. which brings us to ambulance, the new film by michael bay. this is a remake of a danish film. the danish film is 80 minutes long. the michael bay film is two hours, 20 minutes long. it's basically speed in an ambulance. two characters, jake gyllenhaal and yahya abdul—mateen ii, in a stolen ambulance after a botched heist, and there is an injured cop and a paramedic who has to keep the cop alive. otherwise, they'll be in even worse trouble than they're in. meanwhile, they're being chased by cars and by helicopters through los angeles for the best part of two hours and 20 minutes. here's the thing — michael bay doesn't do sensitivity. michael bay does everything explodes all the time. boom, crash. in the case of this, he's aided by a drone camera, which is being piloted by the drone racing league world champion, alex vanover. and boy, don't you know it! i've never seen so much drone action — up the side of buildings, under bridges, in through things, up people's nostrils. i mean, everywhere

you go, it's drones. the visual pyrotechnics, i think, are partly there to distract our attention from the fact that the film makes no sense whatsoever. i mean, it's like, "ok, the thing is, we have to save this one cop in the back of the thing. and in the process of doing so, we will cause massive amounts of carnage because nobody else matters." it's also, i think there may be some good performances, but you can't tell because the camera never stays still long enough to notice. if this was 80 minutes long, it would be "ok, fine." it's, like, absolutely splat. i mean, all michael bay films are like being struck over the head whilst being shouted at at the same time. and for 80 minutes, you'd probably get away with it. two hours and 20, it's like, "please, stop." you know, hey, it's... i've said this before. it's the michael bay film that i dislike the least, and i dare them to put that on the poster. i want that on the poster. escape from mogadishu. south korea's entry for the best international feature oscar wasn't nominated. it's based on a true story. 1991, north and south korean diplomats are in mogadishu. get caught up in the

uprising against barre. the north koreans end up at the door of the south korean embassy, saying, "look, we need refuge," but they're not allowed to work together. they absolutely have to stay separate. the film was a huge domestic hit, and it's easy to see why. the first half of it is kind of like a political thriller. the third act has the most nail—biting chase sequence. here is a clip. see, the thing that that

makes me think is — "michael bay, look at that!" that is how you do a nail—biting chase sequence, because in that sequence, all the camera movements are there to tell the story. they're there to explain what's going on. in ambulance, it's just they're flying all over the place. it doesn't matter what's going on. but in this, it's like, "ok, storytelling via the camera." and i think what's really interesting about this film is that, during that last sequence, what it kind of becomes sort of pure cinema. it's available on streaming services. it's also available in select cinemas. if you get a chance, see it in a cinema because, on a big screen, you really get that adrenaline rush of the last act. and i just thought it was very interesting seeing it back to back with seeing ambulance, in which all the kinetic stuff is for show. you know, it's flashy, but it's not really telling you anything. but in this, it is helping tell the story. and it's a really gripping chase sequence, that third act. ok, interesting. and your best out this week? yeah, again.

ok, so paris 13th district, tale of modern love in the digital age. directorjacques audiard. noemie merlant is one of the stars and she's brilliant. one of the co—writers is celine sciamma. jane, come on! so there are some good things about this. there are some good things. but i'm still feeling a bit angry about it. so i'm going to start with the bad things, which is, as you say, it's a tale of modern love. and all the women take all their clothes off, and the man doesn't. and this is not the 1970s. and i was so angry and irritated by that that it really spoiled my enjoyment of the film — because it keeps happening over and over again. i might stop there because i'm actually still quite angry about it. i think that's a valid criticism. and that really annoyed me because it looks fabulous, really interestingly shot. great performances. but then every time another woman took her clothes off, i was just wanting to throw things at the telly. and i was really, really glad that... unusually for me, i had decided to stream it at home by chance,

because normally i try and go and see things in a cinema. and i actually at one point sat on my sofa thinking, "i am so glad i am not watching this in a cinema with men i don't know because that would make me feel really, really uncomfortable." and it's not ok in 2022 — it's just not ok. well, i understand the criticism entirely. i liked it more than you did, but you know, that is a perfectly valid criticism. but that kind of wiped everything else out, right? it kind of meant that... the performances were terrific and the look of it is really terrific, actually. but, yeah, ijust can't love it, i'm afraid. for that reason. ok, we're going to have to agree to disagree. but i respect your point. very quickly, reissue of the week, which is chopper, which is an extraordinary drama based on a real life story, based on the memoirs of mark chopper reid, played by eric bana. eric bana in his sort of breakthrough role, who before this — this is the 20th anniversary rerelease. although it's actually 22 years ago — it's been delayed.

it's directed by andrew dominik, who went on to make the assassination ofjesse james by the coward robert ford, which was my favourite film of the year when it came out. i remember when this first came out, i remember interviewing eric bana and thinking, "wow, what they've managed to do is take a story that's pretty brutal and pretty tough and turn it into something that is entertaining and also intriguing." this launched eric bana's career, and he then went on to be a very respected actor, having previously been largely known for comedy — and andrew dominikis a terrific director. 0k. thanks, mark. see you next week! enjoy your cinema—going. bye— bye. hello, there. well, spring can be a very fickle season indeed. much of last week spent underneath blue skies, lots of warm sunshine and temperatures as high as 21. looking at the week ahead, though, it gets a lot colder, cold enough even for some of you to see a little bit

of snow later in the week. right now, we've got extensive low cloud working in across north wales, west midlands, north west england, crossing the irish sea, so the isle of man and eastern counties of northern ireland. with that, we've got a little bit of mist around, some fog patches, and you could even find an odd patch of drizzle out there. still, for many on monday, aside for the cloud, most will have a bright and sunny start to the day, and what cloud forms will tend to melt away as the day goes by, so it will brighten up. a high chance of a few showers across central regions, perhaps over the pennines, the southern uplands, but warm in any sunshine, 17 degrees in glasgow, 18 degrees the top temperature in london. but then it gets a lot colder, particularly mid week on. there is a risk of some snow over the hills, and a small chance at lower levels.

welcome to newsday. reporting live from singapore, i'm karishma vaswani. the headlines... ukraine's president zelensky says his country could become neutral as part of a peace deal to end russia's invasion. translation: i understand it's impossible to force - russia completely from ukrainian territory. it would lead to a third world war. i understand it, and that's why i'm talking about a compromise. as the bombardment of ukrainian cities continues, refugees fleeing from the southern port of mariupol say they're being forced to go to russia. in other news this hour, we find out what it's like inside north korea's prisons for defectors who try to leave the country. the entire population

of shanghai is sent