do you make of this, are tony, what do you make of this, are you interested in royal sagas? that's a no. you interested in royal sagas? that's a "0-— you interested in royal sagas? that'sa no. �* , that's a no. i've never understood enalish that's a no. i've never understood english peeple's _ that's a no. i've never understood english people's obsession - that's a no. i've never understood english people's obsession with i that's a no. i've never understood. english people's obsession with the royal— english people's obsession with the royal family. english people's obsession with the royalfamily. i mean, they english people's obsession with the royal family. i mean, they are not even members of the royalfamily. he is even members of the royal family. hrs. is still a even members of the royal family. he: is still a prince. even members of the royalfamily. he is still a prince. tony _ even members of the royalfamily. he is still a prince. tony is _ is still a prince. tony is indifferent, _ is still a prince. tony is indifferent, very - is still a prince. tony is - indifferent, very comforting, is still a prince. tony is _ indifferent, very comforting, some things you can rely on. essen indifferent, very comforting, some things you can rely on.— things you can rely on. even if you are not interested _ things you can rely on. even if you are not interested in _ things you can rely on. even if you are not interested in the - are not interested in the shenanigans of the psychodrama is and all of that, do you think that they are impacting, harry and megan, on the queen? we hear a lot about the queen, an elderly lady now, they're not going to see her, is that of any interest to you? i think the queen has _ that of any interest to you? i think the queen has seen _ that of any interest to you? i think the queen has seen a _ that of any interest to you? i think the queen has seen a lot - that of any interest to you? i think the queen has seen a lot worse i that of any interest to you? i think. the queen has seen a lot worse than harry— the queen has seen a lot worse than harry and _ the queen has seen a lot worse than harry and megan, quite frankly. i think_ harry and megan, quite frankly. i think there is an entire industry based _ think there is an entire industry based around saying what the queen or prince _ based around saying what the queen or prince charles thinks about things. —

or prince charles thinks about things. i— or prince charles thinks about things, i am unsure what the reality is. , , , ., is. the papers will still go with it. i am sure _ is. the papers will still go with it. i am sure we _ is. the papers will still go with it. i am sure we will— is. the papers will still go with it. i am sure we will read - is. the papers will still go with | it. i am sure we will read about what they have been up to. thank you very much, that is eight for the papers tonight. the papers will be back tomorrow evening when we will know who the new tory leader and prime minister in waiting will be. jenny kleeman and natasha clark will be having a look through them, do join us then, but if you can, from now, from me, good night. 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 again. so, interesting week. we have the forgiven with

ralph fiennes and jessica chastain. we have three thousand 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 bestseller, ralph fiennes and jessica chastain are david and jo. they're a posh white couple who were travelling 400 miles for a party. "there's a long way to go for a party, and 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. 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. i 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. i couldn't see. 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, can't we? if it's absolutely necessary. david...

and in that phrase, "if it's absolutely necessary," is 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 by john michael mcdonagh. i think it has very good performances, not least by ismael kanater, who plays the father of the boy driss, who when you first meet him, he's very sort of hard to read, but as the drama goes 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 by it? 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 really care?" i mean, you care about the little boy, 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 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. yes! 0k. well, look, let's move on to three thousand years of longing, which is an adult fantasy, adapted from a story, directed by george miller, who's well versed in fantasy film—making. tilda swinton is althea, who is a british scholar, a very well—to—do british scholar who studies narrative, the origins of stories and myths. she's travelling the world. she buys a vase. out of the vase comes a genie

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 — the 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 what dreams may come, which is sort of partly set in the afterlife, and is 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? wookey hole!

what about it? well, it's wookey hole! i can see it's wookey hole. is this supposed to - mean something to me? we've been here before. have we? yeah. on holiday. i've never been on holiday with you. you have! to wookey hole! stop saying wookey hole. it tipped down, remember? we were stuck in the caravan, the three of us. down the road. three? yeah — me, you and your mother. god, 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 she says, "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 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. yes. also, if, as i have, you know, you're somebody who has travelled the a30 to cornwall, there is a beautiful use of clumps 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 chord with me. i thought it was very well made. 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 undergraduate daughter, but there's a lot of stroppy teenager going on there, isn't 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 father who is, i'm sure, full of boring anecdotes and obscure niche rock trivia, i understand. i mean, i think it's partly a personal response, but you could feel the heart and soul that the film was made with.

and, again, i think it's really interesting to see filmmakers tell a story that isn't quite what you expect it to be. it leaves you with a sense of mystery and wonder. yes, there's a slight disquiet at the end, which i sort of liked, and we can't say any more than that �*cause, 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. a0 yea rs! how is it a0 years? i know. how is that possible? i assume you've seen et. did you see it when it came out? oh, yeah. a0 years to the point where i think i barely remember it. it is impossible to watch it without bursting crying. i mean, it'sjust a total cry—a—thon, isn't it? 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 wasjust reissued in cinemas just a couple of weeks ago and is now available on blu—ray. 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. hello, it has been a week of extremes across the uk, warm sunshine helping temperatures up to 26 celsius across east anglia, a mixed weekend and the heavy rain has come from this area of low pressure which stays with us throughout the week so for those of

us delayed drought are looking for some rain, high chance that you will see some in the days ahead. we start monday with rain across northern england and scotland pushing northwards, lingering across the northern isles for much of the day. elsewhere, sunshine, maybe one or two heavy showers, frequent across south—west england and later in the afternoon. another warm day for many. showers pushing further northwards overnight again, heavy and thundery, eventually arriving in scotland, behind them some clearer skies but perhaps some patchy mist and fog and once again another warm and fog and once again another warm and muggy night, temperatures not much lower than 15 or 16 celsius in places. the weekend brings the chance of some showers for many, particularly those in drought, and for many, the temperatures start to ease, too.

welcome to newsday, reporting live from singapore. i'm karishma vaswani. the headlines... at least ten people have been killed and many more have been injured in a series of stabbings in canada. police say two suspects — a pair of brothers — are on the run, and are urging people to stay inside. the polls have now closed in chile where millions are voting in a historic referendum for a new constitution. britain is about to get a new prime minister, with the result due in the conservative leadership election. and the big freeze — germany announces a financial package to protect its citizens from soaring energy prices.