this is bbc news. the headlines: authorities in seoul say north korea has fired another two ballistic missiles that have landed in the japanese sea. this comes after the un held an emergency meeting to discuss regional tensions. pyongyang says the launches are "counter action measures" against recent us—south korean military drills. aid agencies have warned that hundreds of thousands of people in somalia face starvation unless aid deliveries are urgently stepped up. the worst drought in decades has forced many people from their homes. many of those who remain are cut off from potential help by a long—running islamist insurgency. a lebanese lawmaker — who was elected to parliament in may — is the latest in a growing

number of angry depositors who have forced banks to return their savings. millions of dollars remain trapped by capital controls imposed in the face of an unprecedented financial crisis. the credit agency fitch has lowered the outlook for its credit rating for british government debt from stable to negative. it comes after the government announced huge tax cuts funded by borrowing in a mini—budget last month. some of those plans were reversed on monday. earlier, prime minister liz truss gave her first conference speech as conservative leader. she's been in thejob for less than a month, but already, some are questioning whether she'll still be in the position by christmas. but despite all that, she was in bullish mood as she addressed her party. our political editor chris mason was watching. # moving on up, you're moving on out... not everyone here has been standing up for the prime minister in the last few days, but they did today.

moving on up, liz truss hopes. she began with the themes that shape us. we gather at a vital time for the united kingdom. these are stormy days. we are dealing with the global economic crisis caused by covid and by putin's appalling war in ukraine. but this tax—cutting prime minister had to ditch a tax cut for the best paid and there was contrition. the fact is that the abolition of the 45p tax rate became a distraction from the major parts of our great plan. that is why we are no longer proceeding with it. i get it, and i have listened. the prime minister, at first, appeared nervous but what happened next appeared to galvanise her. environmental activists questioned the legitimacy of a prime minister who hasn't won an election.

it was a moment that didn't wrong—foot her, but helped her define who she's against with a catch—all label she'll hope will stick. i will not allow the anti—growth coalition to hold us back. labour, the lib dems, the snp, the militant unions, the vested interest dressed up as think tanks, the talking heads, the brexit deniers, extinction rebellion, and some of the people we had in the hall earlier. they peddle the same old answers. it's always more taxes, more regulation and more meddling. wrong, wrong, wrong! this is a prime minister plotting a very different course from boris johnson, but on one issue, there is continuity. we did not stand up to russia early enough. we will make sure this never happens again.

we will stand with our ukrainian friends however long it takes. ukraine can win, ukraine must win, and ukraine will win. just as the protesters united this audience, this did too. but behind the applause, gloom for many about this party's future, its leader, its direction. as for the prime minister, she couldn't leave quickly enough. she can run away from this conference, but not the immense challenges she confronts. chris mason, bbc news, in birmingham. now on bbc news, talking movies is at the telluride film festival.

hello from picturesque telluride high up in colorado's rocky mountains. i'm tom brook. in today's programme, we witness the beginnings of this year's oscars race on us soil as seen through the movies that were shown at the telluride film festival. we also report on movies seen here at telluride, which were first shown at the venice film festival. rocky mountain high byjohn denver plays remote telluride isn't easy to get to. many festival—goers come by air to savour a tightly curated 4—day festival that plays an increasingly important role in launching films that go on to win academy awards. one big telluride standout this year, the much—praised women talking from canadian filmmaker sarah polley, portraying a group of

mennonite women deciding how to respond to sexual assault. it creates an illusion of light so you don't see the darkness. also getting accolades, empire of light, a contemplation on cinema from british director sam mendes with an impressive performance by olivia colman. top chilean filmmaker sebastian lelio was also at telluride. his midlife crisis film gloria brought him to the festival nine years ago. and then, more recently, he came with a fantastic woman, a trans character study. this time he was at telluride with the wonder, set in the irish midlands in the mid—19th century. it stars florence pugh as a nurse observing a young girl who, despite apparently not eating, remains miraculously alive. the movie drew a mixed reaction. it is a sory of the collision between faith and reason, between magical thinking

and science. but it's also an exploration of these two systems of belief, assuming that they are both interpretations of reality. and it was a good year for women in telluride. making a film is about intimacy. adding to the ranks of female filmmakers at the festival was french director laure de clermont—tonnerre. with strong turns from her actors emma corrin and jack o'connell, she has brought us another adaptation with her own twist of the controversial british literary classic lady chatterley�*s lover from author dh lawrence. banned for obscenity from various countries in the past. it's the first novel that addressed sexual female pleasure, so in that sense, i think he was very avant garde, feminist. glorifying sex, not shameful, not dirty, making it a primal need and for all those reasons, i feel that was the reason why it was banned, because it was not scandalous at the time.

while i was in telluride, many filmmakers and stars flew in from the venice film festival where their movies had just been playing. among them, the talented italian filmmaker luca guadagnino, who came to town with bones and all, his first movie set in america. it has the star power of timothee chalamet with whom he's worked before. emma jones reports. this looks like the taste of success. the cast and crew behind bones and all are taking this romantic drama across the globe, to the pre—oscar autumn film festivals, and perhaps thanks particularly to one of its actors, timothee chalamet, fans are devouring it. this is italian director luca guadagnino�*s first film set in the usa. bones and all, an adaptation of a coming—of—age novel set in the 1980s, has a kerouackian

on the road feel as two young drifters who have a bitter urge to eat human flesh fall in love against the backdrop of the american midwest. every creature does what it must to survive. like the recent movie version of where the crawdads sing, this is another narrative that focuses on outsiders. you don't think i'm a bad person? all i think is that i love you. canadian actress taylor russell plays the protagonist maren, abandoned by everyone close to her because of her affliction. the way you enter through this picture frame of cannibalism to the pure love of these people and who they actually are and the purity of heart within them is really brilliant, i think. what was it like? a rush. i want to leave the interpretation to people when they see the film, but to add to the outsider experience, a lot of people feel now to tell a story of two people who have a curse that

they have to grapple with, these two young people, and that they find each other and their inherent humanity is confirmed by each other. timothee chalamet first worked with luca guadagnino on 2017's coming—of—age gay drama call me by your name. call me by your name and i'll call you by mine. both actor and director were propelled upwards by that film's success, and chalamet will star next as willy wonka and is working on the next instalment of denis villeneuve�*s sci—fi epic dune. there's something awakening in my mind and i can't control it. but he says this role as lee is truly significant to him. as i get older, yeah, these are the kind of stories i want to tell, about disenfranchised people, but also people who are disenfranchised existentially too, that have no...no path in front of them, and as much as we have more conversations today about mental health and things like that, some of these bigger

questions are deemed either too romantic or, like, greedy or something. what about afterward ? the story of young love with a macabre feel isn't new in movies, but as it's getting rave reviews, bones and all may be a rare dish, satisfying the appetites of both critics and the crowds. also present at telluride was a movie called close, which was a big hit at the cannes film festival earlier this year. it's the story of two very close 13—year—old belgian boys. one of them distances himself from the other after negative comments on their relationships are made at school. there are dire consequences. the belgian director told me the story was inspired by his own experiences. i think that as a young man growing up, i had a lot of friendships with other boys

that, at a certain point in time, i started to fear because i understood that that intimacy is something that this world is not used to and wants to label and wants to put in a box. young actor eden dambrine plays one of the boys. he hopes the film gets audiences not to pay attention to the judgement of others. ijust hope that people will really understand that it's not because people are judging you of your friendship, that you have to change this friendship, and just be yourself and be happy with it. at the telluride screening i went to, the film appeared to appeal to a broad swathe of movie—goers. it was beautiful and it was one of the best ones i've seen here. thank you very much. it's a real tearjerker. i spent the last _ 45 minutes basically crying. it was phenomenal, really well done. the emotions that came out was...

hejust drew it. it was nice to see primary—aged schoolchildren represented in life at that time, and kind of the relationship between boys and friendships and what it means, and kids making fun of you but you're still friends with them and that kind of really loose and interesting time in your life and i thought the film did that in a really beautiful way. although this well—crafted film will engage anyone with a heart and intelligence, it will probably really resonate with the lgbtq community because so many gay people have been ridiculed when young for their close friendship with members of their own sex. it is a queer experience that you get to see on screen, like this feeling of being intimate with someone and, at the same time, having the feeling that the world around you doesn't always allow that intimacy to happen. or you yourself don't always allow that intimacy to happen. so i think that there is this — yeah, i would totally get why that response would be there, but at the same time,

i think it's not only a queer experience. lukas dhont�*s first film in 2018 was the well—received girl, the much—praised, albeit controversial story of a young ballerina's gender transition. with close, he's bolstered his position as a talented filmmaker and now to add to all the accolades, his film was recently selected as belgium's official submission to next year's oscars race. the telluride film festival takes place within an incredibly affluent community, people here exist in a world of great wealth and privilege, in contrast to 1,400 miles away, inside america's largest maximum—security prison in the state of louisiana. that prison is featured in a short but very potent documentary shown at the telluride

film festival called angola do you hear us? you know, we got over 6,000 people here. they're warehousing us, bro. the prison known as angola sits on the site of a former slave plantation. it has more than 6,000 inmates and 70% of them are black. it is cited as an example of how america disproportionately incarcerates its black population. this documentary shows what happens when acclaimed playwright, liza jessie peterson, goes inside the prison to perform her i—woman show, the peculiar patriot, to a large group of inmates. notjust perform, but to activate. they became so animated that prison officers shut it down. the show really goes into what the families of incarcerated people experience and she creates these characters, and some of those characters really take a look at criminaljustice. it's really kind of

an indictment of profiting off of prison. what ended up happening in this room when the incarcerated men saw the play, they got so riled up, and connected to liza so much around all of it but particularly those parts that were about injustice, that they shut it down and ushered liza out, so this film is really about that day. what this film shows is how liza jessie peterson was able, by using her imagination and her authentic words to reach beaten down people, to awaken them. just because you see prison with your physical eyes, what do you see beyond that? i am a poet, and so i understand the power of poetry, the power of the word. word, sound, power is a very real thing, words have energy.

the power of life or death is in the tongue, so i am aware of that. ijust thought it was so powerful for an artist to be using art and writing to really engage these incarcerated kids and i wanted to tell the story of how liza got to that room and what happened in that room just from their viewpoint. of course there are those who will see this film and take the view that the incarcerated men don't need compassion because they committed some awful crimes. but for those who created this short documentary, that is not the point. they argue we need to move forward from that way of thinking. when i have spoken to some of the men and women and you hear the stories and the testimonies, they are very remorseful about what they did but hurt people hurt people, so we have to get to the root of the hurt. we have to get to the root of the wound. seeing those white correctional officers on horseback

with rifles, itjust looks like something out of the antebellum south. but angola don't you hear us isn't about the criminal justice reform. it is more about the power of one talented playwright to awaken a prison population through her work, with her art. telluride was really big on documentaries this year and to my mind one of the best was called retrograde which had its world premiere at the festival. it focuses on the final days of the us military presence in afghanistan last year. the director has put together a very unsettling picture of what actually happened behind—the—scenes and he really benefited from the great access that he got. we are all familiar with the daily news journalism from last year of how it documented the hasty withdrawal of us forces from afghanistan. but maker matthew heineman had an ambition

different from daily news journalism with his 90—minute film. in traditional news andjournalism, often you have to helicopter in and out for a few hours, a day or two. i had the luxury of being able to tell the story over months. with this film i think we have over 1,000 hours of footage that we culled together into a 96—minute film. at the end of the day, we are all trying to tell a story. it's very nice what you do with your work and how connect with the people. heineman is an affable, approachable man sensitive to the lives of others. in his previous films including in cartel land which focused on the mexican drug trade, and in city of ghosts which followed syrian citizen journalists operating under cover. he always got good access to compelling individuals to tell a bigger story.

he does the same with retrograde. it's a portrait of the last several months of the war of afghanistan seen first through the eyes of a green beret unit on their last deployment to afghanistan and after biden pulled out the troops, and they left, i decided to pivot the story to focus on an afghan general that they were working with, to follow the trajectory of the end of the war through his eyes. so ended up embedding with him all the way to the final moments at the airport in kabul. heineman shot the film himself with two other collaborators. he is notjust skilled technically. you really feel the agony of humanity in his work and with retrograde he connects us emotionally to those final days of the us military presence in afghanistan.

uganda's celebrated bobi wine was the subject of the documentary bobi wine ghetto president, seen here at telluride and the venice film festival as well. this one—time musician, politician, and presidential candidate encountered many dangerous obstacles along the way as emma jones reports. we are in very dangerous times. politics is a tumultuous business but few live lives as precariously as musician and reality tv star turned ugandan member of parliament, robert kyagulanyi, or bobi wine. somebody had to speak for us. people thought i had the loudest voice around. this very personal documentary follows every twist of his unsuccessful challenge for the presidency in 2021 and wine�*s repeated arrests, detainments and alleged torture by the forces of uganda's leader since 1986,

yoweri museveni. museveni is targeting everyone around me. wine, who last year was held under house arrest, is now travelling the globe promoting the film with one of the documentary�*s codirectors, christopher sharp, who first had a meeting with him in 2017. when i started listening to what bobi said and how he had grown up in the ghetto and how he had pulled himself out of that with music, how he'd become incredibly successful, and then he decided to become an activist which was super dangerous and very risky for his wife and family, and then becoming a member parliament. so i knew he had taken this massive risk and it just seemed like such an extraordinary story. you have had everything in life in terms of your success, so what motivates somebody like you with everything to become an activist? what motivated me

is the realisation that all that so—called success is empty, it is deceitful. it's a lie. when you're not free or when your freedom depends on the powers that be, the progress of an entire generation is sat on and stands no chance unless one of us leaves their comfort zone. so it was a realisation that it is a matter of time before i also end up like them and that's why i thought that, with the resources that had been invested in me, the fame, the popularity, the fortune, the loud voice, the attention, it had to be used for the betterment of my people. with the launch of bobi wine ghetto president are echoes of another successful documentary this year aboutjailed russian opposition

leader alexei navalny. remarkably, vladimir putin faces a legitimate opponent, alexei navalny. the critically acclaimed film certainly gave his plight greater global exposure. come on, poison? seriously? i pray that they will clear his name and he is set free. the documentary can be a powerful political tool in portraying a potential hero. for us, it was an opportunity to tell our story to far the world, to the world that has always been deliberately misled about how it is in uganda and we embrace the opportunity. of course, initially, we are not very comfortable with cameras in private places, but with time we became close with the camera guys and even forgot

about the cameras. so i am glad it was told the way it was. what you see in the film is not even 1% of the violence that happens in uganda but maybe this can create interest in uganda and then those that care about humanity will take their own private and independent time to look into the issues of uganda. the world has successful examples of entertainers who have risen to the occasion as politicians, as volodymyr zelensky, a former actor has done in ukraine. we are not going to stop, we are not going to give up. bobi wine may still one day be more than a self—described ghetto president. we must get our freedom or we shall die trying.

well, that brings our special telluride 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 twitter as well. so from me, tom brooke, and the rest of the talking movies production team, here in telluride, colorado, it is goodbye as we leave you with local musician tyler simmons performing on one of the town's main streets. music

hello. thursday gets off to a much cooler start, especially in wales and england. there'll be a lot of dry, sunny weather around to begin with, but you'll be catching some showers in parts of scotland, northern ireland, maybe north—west england. and a cloudier zone across north wales, parts of the midlands, northern england developing that will have some showery outbreaks of rain. look how it turns wetter in western scotland later in the day. windy throughout the day, average speeds, gusts will be higher, though you will feel a bit of warmth if you're out of the breeze and in some sunshine, especially across parts of eastern england that stay dry. also, parts of eastern scotland will stay dry, too. will turn wetter, though, in scotland and across northern ireland overnight and into friday morning, as this area of rain starts to move southwards. it will be a milder start to the day on friday. and then, during friday,

we take the rain with gusty winds and some heavier bursts, south through much of wales and england — not reaching parts of south—east england until after dark, though ahead of the rain, there will be one to two showers around. behind the rain, it'll turn cooler and fresher once again, and there will be a few blustery showers to be had. that's your forecast.

welcome to bbc news. i'm gareth barlow. our top stories: criticism from seoul and washington as north korea fires another two ballistic missiles, landing in the sea ofjapan. we return to somalia for a second report on the people displaced by war and the worst drought in four decades. in iran, schoolgirls have now joined the growing protests against the hardline laws restricting women's rights. a symbol of the economic crisis facing lebanon: the bbc speaks to a lebanese mp who held up a bank to take out her own money. i apologise to all the people i frightened, but how does that compare to the despair, anger and grief i feel every day?