hello, and a very warm welcome to the film review on bbc news. i'mjane hill, and back with us after a summer break, mark kermode, good to see you again. nice to see you. so, interesting week. we have the forgiven with ralph fiennes and jessica chastain. we have 3000 years of longing, a strange, dark fantasy. and the cornish new wave continues with long way back. quite a striking mixture. so, the forgiven, which i know you've seen based on the 2012 best seller, ralph vice, ralph fiennes and jessica chastain seller, ralph fiennes and jessica chastain are david and joe. they're a posh white couple who were travelling 400 miles for a party. "there's a long way to go for a party in anyway.

they're more your friends than mine." the party is being hosted by their friends, played by matt smith and landryjones in their castle—like villa. en route, david, who drinks way too much, runs down and kills a local boy. en route, david, who drinks way too much, runs down and kills a local boy. they then arrive at the party with the body. their hosts are shocked, but perhaps not as shocked as they should be. here's a clip. you're dressed for dinner. so the world's still normal. you should get changed. both of you, get changed. have a shower, come down for dinner. police will be here in an hour. i know the officer in charge. it'll be a formality. how did it happen? you should tell me before we tell the police, - get everything ironed out. we were bowling along, looking for the sign for asthma. and there was a lot of sand blowing across the road.

he just stepped out in front of us like he didn't understand the speed of a car. the fact is, we hit him, we hit him and we killed him. well, the main thing is to come. clean, cooperate with the police, and seem overwhelmingly contrite. we can do that calmly. if it's absolutely necessary. david. and in that phrase, "if it's absolutely necessary," it's kind of the nub of it. we're told the boy is he's a nobody. he's a villager from far away. no—one knows who he is, but of course he isn't. he has a father who then arrives at the villa and says, "you must pay reparations by travelling with me to my home to bury the boy." ralph fiennes�*s character says, "we're not going with him. "i don't know who he is. "you know, maybe they want money or maybe worse." but then the film kind

of bifurcates between, on the one hand, the villa where all this debauched revelry is going on, and on the other hand, the journey of his character. this is directed byjohn mcdonagh. i think it has very good performances, not least by ismail kenyatta, who plays the father of the boy driss, who when you first meet him, it's very sort of hard to read, but as the drama goes on, says an awful lot. on, says an awful lot — often not with words, but through expressions. i think it's well done. it's slightly inert at times. and the central subject of it is, aren't these ghastly white people ghastly? and the answer is yes, they are. and therefore, the challenge of the story is, can you make what happens to them interesting? were you gripped? i was gripped and quite tense and i think it's very well acted, but there's a lot of characters in it who are really unpleasant. and i think it takes us back to i often have this debate with any work of art, a book or a play or anything. if everyone is unlikable, you can reach a point

where you think, "0h, do i i really care?" i mean, you care about the little boy, but but all the characters in this gorgeous, sumptuous moroccan palace having a big party for the weekend are really unpleasant people. yes, and very hard company. i think that one of the triumphs of the film is that it doesn't... you don't need to sympathise with them. i think that the plight of the other characters is is as important. characters is as important. but i also think that there are certain moments in the drama which you think, "i almost wish the drama was about the other characters and not about them," although it's a terrible thing to fall into. i don't want the film to be about that, i want it to be about that. i think it's well done. i don't think it's earth—shattering, but it's handsomely mounted and very sparse use of score, leaving lots of spaces in that. there's lots of moments of silence within the drama in which it's almost as if the film is inviting you to fill in the space. but, you know, an intriguing piece of work, if not earth—shattering. yes, absolutely. it holds your attention. i had a bit of a problem with the central conceit that he would agree to drive off

with the boy's father and go out into the desert with people you don't know. which is the thing upon which the whole thing pivots. yeah. 0k. well, look, let's move on to 3000 years of longing, which is an adult fantasy, adapted from a story by asbaek, directed by george miller, who's well versed in fantasy film—making. tilda swinton is althea, who is a british scholar, very well—to—do british scholar who studies narrative the origins of stories and myths. out of the vase comes a djinn played by idris elba, who grants her three wishes. well, she understands how narrative works. she knows that granting three wishes, it's usually a kind of it's a cautionary tale — don't take the wishes. you know how that works out. this is an oddly baffling film. i really like tilda swinton. i really like idris elba. the problem with this is a lot of the time with the special effects, special effects are very, very cgi—heavy. it felt like i should be reading this as a story. i should maybe be listening to it as a radio play or as an audiobook,

but sometimes looking at it kind of makes the magic too literal, and therefore ironically takes the magic out of it. i mean, it's ambitious and it has some interesting ideas, but it's a mess. and it kind of reminded me of there's a film called of — there's a film called what dreams may come, which is sort of partly set in the afterlife, and it's full of really intriguing ideas and conceits, but doesn't work as a movie. and in the case of this, i mean, it's great to see something made with ambition. but it's. .. it is an impressive failure. but it is a failure. 0k, 0k. a long way back. yes. so, more down to earth, although not entirely so. so, this is the latest from what's being called the new wave of cornish

cinema films like wilderness make—up, obviously markjenkins, bait and of course, ennis mane, which we have coming. this is by brett harvey, who made weekend retreat and brown willie. it is a melancholy road movie that, on the surface, is a story about a father who has to take his estranged daughter from manchester to cornwall via wales and via wookey hole on what becomes a kind of journey of self—discovery. here's a clip. ta—da! here we are. what? what about it? i can see it's wookie hole. what exactly is this| supposed to mean? something to me? we've been here before. have we? yeah. - 0n holiday. i've never been on holiday with you. you have!

me, you and your mother. that must have been ages ago. yeah. was it a good holiday? you really don't remember? how old was i? six. seven. how would i remember that? i don't know. why are we here now? ijust thought it'd be fun. for who? i did like that scene. you see, i think weirdly, i mean, i've seen the film a couple of times now. i think that scene kind of encapsulates what i really like about this film. i mean, there's a lot of things going on and it'sjumbling past and present memory, you know what, you know, perceived reality, all that sort of stuff. but at the heart of it is this relationship between two characters who are distanced and yet stuck in the car together. i think the way in which he says, who? who did you think it was going to be fun for? for you or for me?

he's full of obscure rock trivia. she says, "all you've got is anecdotes from got is anecdotes from the past and niche rock trivia." and he's trying to kind of make a connection, but you get the sense that he spent his life running away from his responsibilities. also, if as i have, you know, you're somebody who has travelled the a30 to cornwall, there is a beautiful use of a couple of trees which are known locally. the nearly home trees or the nearly there trees, which i've always found really magical in real life and it's lovely to see a film actually use that location in such a moving way. now, obviously, you know, this touched a personal this touched a personal chord with me. i thought it was very well made. it's this is low budget film—making, but it's made with heart and individuality. did you find yourself engrossed by it? i agree with everything you say, and i love sort of slow, contemplative films, elements of it. i thought perhaps just a wee bit too slow if i'm honest.

and i liked the character of the the undergraduate daughter, but there's a lot of stroppy teenager going on there. well, all i can say is i mean, there was many of the things i mean, i have heard i mean, you know, as a as a father who is, i'm sure, full of boring anecdotes and obscure niche rock trivia, i understand. i mean, i think it's it's partly a personal response, but you could feel the heart and soul that the film and soul that the film was made with. and again, i think it's really interesting to see to see film filmmakers tell a story that isn't quite what you expect it to be. it leaves you with a sense of mystery. and yes, there's a slight disquiet at the end, yes, there's a slight disquiet at the end, which i sort of liked, and we can't say any more than that cos again, don't want to give anything away. exactly, but i liked it intriguing. i hope it finds an audience. yes, much more sort of big and mainstream. best out is et. it's back in cinemas.

40 years! and it's, you know, it's a lovely it's an absolutely lovely film and it's back. and, you know, we take it for granted just how moving it is. for dvd — you're a star trek fan. i loved the tv series. yeah, yeah, yeah, yeah. i can't remember whether i've seen the film star trek the motion picture. when it first came out, it was famously not finished properly as it was meant to be. they were rushing for deadlines. this is the motion picture director's edition, which was just reissued in cinemas just a couple of weeks ago and is now available on bluray. if, like me, you only saw star trek when it came out and thought it was a bit disappointing, have another look at it because the director's edition does show you much closer. you know what the film was meant to look like and how it was meant to be finished,

and it's worth seeing. excellent. interesting week. thanks very much, mark. see you next time. enjoy your cinema—going, whatever you're watching. see you next time. bye— bye. in terms of weather over the next couple of days, it will get a little bit wetter. we're couple 0f days, it will get a little bit wetter. we're starting to couple of days, it will get a little bit wetter. we're starting to see the first signs of that. a few downpours across south east england, but more significant rain into northern ireland which will be the story through the night tonight. turning increasingly wet and windy here. we'll certainly see more cloud through the night, so temperatures... some of us will manage to dodge some showers. and still get some more put because the wind direction... the heaviest through northern ireland and southwest scotland. here we have early warnings all weekend, with or

we could potentially see some significant rainfall. 24 degrees in the southeast.

today at six — fears of food shortages in pakistan. the government says up to half of the country's crops have been destroyed by the floods. many more children could die, warns the un — because of the high risk that waterborne diseases will spread rapidly. the scale of these floods is difficult to imagine. 80% of dadu district is already submerged. the families that you see around me came here hoping they would be safe but they now fear that things are about to get a lot worse. we'll have the latest from one of the worst hit areas of sindh province. also on the programme: are conservatives ready for rishi? or will members put

their trust in liz? voting has just closed in the campaign to be