# who are you...# i have taken the aspect of the who colours. it's the red, it's the white, it's the blue. and i've programmed it in a way so therefore the content will never do the same thing twice. so you're taking down the story, you're seeing a reflection of the music, the sort of intensity, the energy that the who brings. this exhibition, though, is in many ways just a foretaste for some extraordinary and immersive new technology that could transform the way we see art and music in the future. in a neighbouring room, i get a glimpse of the world's first sd single. grab a headset. one of these? yep. a virtual reality take on the song baba o'riley. let's go for it. 0h, 0k. # i fight for my meals... oh, wow.

# i get my back into my living...# all of the assets you see in this immersive single are real assets, real things. - everything you see is real. we've just made - a virtual version of it. as we develop it, there'll be touch, taste, smell, sound, temperature. so it's aiming to sort of really mince your head over time. pioneered here, the world of art and performance may never be the same again. piers hopkirk, bbc news, hastings. the dangerous man—eater of champara — a tiger that killed at least nine people, has been shot dead in eastern india. a major operation involving trained elephants and over 200 people was launched after the dangerous cat mauled to death a mother and her eight—year—old

son on saturday. conservationists blame the rapid expansion of human settlements around forests. a new picture of one of the queen's favourite ponies has been released by buckingham palace, following her appearance at the monarch�*s funeral. the fell pony called emma stood to the side of the long walk as the funeral cortege was driven along the approach to windsor castle. the queen had ridden the black pony for light exercise in the castle grounds over the previous 15 years. now it's time for a look at the weather with nick. hello. contrast between the fine day across the south east of the uk and the wet and windy one in the north west, though the rain will begin to pull away from northern ireland to leave a dry and clear evening. it's moving now across more of scotland. before dark some of that in towards north west england, north west wales, across more of northern england and wales as the evening goes on. been quite pleasant after the chilly start in that sunshine towards the south east. so clearing from much of scotland and northern ireland quite quickly this evening, rhe rain. and then it moves south overnight

through wales and england, maybe not reaching the very far southeast until we get on into tomorrow morning. it'll be a milder night in the south, a cooler night across northern areas and throughout the rest of today, tonight and tomorrow morning, across northern scotland, northern and western isles, 50 to 60 mph gusts and plenty of showers moving in. rain clearing the southeast by lunchtime tomorrow. then most places having a dry, sunny day. the showers are into western scotland, a few for northern ireland, north west england, north wales and perhaps the north midlands. hello this is bbc news with lukwesa burak. the headlines... russia investigates how and what caused the explosion that severely damaged its state—of—the—art and well defended bridge to crimea. officials in the ukrainian city of zaporizhzia, say 17 people have been killed by a russian missile strike on an apartment block. former uk culture secretary, nadine dorries says

prime minister liz truss needs to change course if she wants to keep the party together and avoid facing a "wipeout" at the next general election. police in ireland have named the ten people who died in an explosion at a petrol station in donegal. investigations are ongoing to establish the cause. now on bbc news, talking movies reports on some early highlights from this year's new york film festival, which is marking its 60th anniversary. hello from new york. i'm tom brook, and welcome to talking movies. in today's programme, some early highlights from the new york film festival which, this year, is marking its 60th anniversary.

they said it was unfilmable — the 1985 novel white noise by author dom delillo, but filmaker noah baumbach was undeterred. he adapted it into a movie and it was the opening night attraction here at the new york film festival. the director and cast were all there on opening night. this film, which moves between genres, isn't easy to describe. on one level, it's a family drama that unfolds in the face of a toxic airborne event that imperils a college town. they don't look scared in the crown victoria. no, they're laughing. these guys aren't laughing. where? in the country's choir. what does it matter what they are doing in other cars? i want to know how scared i should be. it stars adam driver as a professor, don cheadle plays his colleague. i think it's about a lot of things. it's about existential dread,

i think it's about confronting death and not letting death be in the driver's seat, but understand as a passenger that we're all going to have to acknowledge, and it's to come along all the way to the end. the 1985 post—modern white noise novel has been explored in the past by other filmmakers as possible movie source material. but its big ideas perhaps proved too difficult to translate to the screen. this place is good, jack. the book certainly had confronting death as a scene. as long as the children are here, we're safe. it was a satire that poked fun as academic life, and it made observations on consumer culture. director noah baumbach was fascinated by the book. well, the thing that struck me when i reread the book — and ijust happen to coincide with when the pandemic hit — was that it felt like a book that

could've been written after any major event in this country, you know. i mean, at the time it was the reagan era, it was the cold war, it was at the aids crisis, but if i'd read it after 9/11, if i'd read it after trump was elected, you know, and then when i did reread it during the pandemic, i just think it's something uncanny about it. i do�*t know who said it, but apparently it was said that the novel was unfilmable, so what made you want to take on an unfilmable project? i didn't think about that. i mean, i don't know— i don't know what criteria people used to say what's filmable or not, but it was just something that intrigued me and i started it almost as an experiment, and then ijust kept going and i got very involved in it, and i felt like it was something that i could really do.

with its mannered humour and, at times, artificial dialogue and idiosyncratic characters, white noise feels like a movie that belongs to a different era, one that is pre—pandemic and all the other tumults we've experienced in recent times. it's a film that feels out of place, strangely inert and at times, and when you think about it — at least to my mind — there isn't anything in the movie that is remarkably insightful or original. perhaps the reason why the film festival open with this movie, when there were others in the lineup which i thought would be better opening night films, is because noah baumbach is very much a favourite son of the festival, and deservedly so, and that may have weighed into the decision—making. the new york film festival is one of my favourites, why? because it's not too big, it's not unweildly, it's very tightly curated, and it's firmly committed to serious cinema. it doesn't really pander — well, maybejust a little bit.

overall, it's a real class act and i'm happy to say that this year it's marking its 60th anniversary. for 60 years, neither rain nor heat nor gloom of night has prevented new york film lovers from coming to their festival. you're obviously prepared to stand outside here in the rain. oh yeah, oh ioo%, i'm freezing to death but i've been here for two hours, and i think it's worth it. it's one of the better film festivals on the planet but it feels differently because anybody can have access to any screening, you can purchase a ticket without having to invest in a massive pass, so it's accessible but it's also the best films coming up over the next year. plate smashes. canned laughter. the exterminating angel from director luis bunuel in 1963 opened the very first new york film festival. veteran film critic and film festival programmer david ansen started going to the new york film festival in the mid—1960s, and he sees the bunuel film as a fitting opening act.

why, yes, the exterminating angel was kind of a great movie to open the festival. i mean, it's a revered filmmaker, luis bunuel. it shows how both serious the festival was but also what good taste they had, and you could combine something that was very serious but also extremely entertaining. how valued a showcase was the new york film festival when it began? because it provided a window into international cinema in a way that's hard for people to understand nowadays, isn't it? no, it's true. i mean, the new york film festival was almost symbolic of this incredible interest and resurgence and interest in cinema that really had not been experienced before, because it became really one of the great art forms, it hadn't been taken so seriously but something happened in the �*60s with all of these european directors.

there was cinephilia such in those days. and then the new york film festival was there — was at the heart of it. the festival has got bigger over the years but the main slate, which this year had around 30 features, is always quite focused. it's always been tightly curated, just a few dozen films, and an opportunity for artists to engage artists on our stage here at lincoln center, so we've tried to remain true to that by keeping the festival tightly curated, by bringing artists from around the world. but in a world where there are a dizzying array of platforms to view films, how does a festival like the one here in new york justify its existence? given just how diffuse the cinematic landscape is today, how many films are made, i think the goal, i think the founding principle of this festival of curation, of really making an argument of which films matter, i think that, in some ways, matters more than ever. since its inception 60 years ago,

the new york film festival has shone a light on a fine european arthouse cinema, and this year it was a turn of austria to share in that light, with a film called corsage, as emma jones reports. choir sings. a constricted 19th—century royal life proves too much for elizabeth, was sisi, the empress of austria, the protagonist of corsage. luxembourgish actor vicky krieps portrays her as a ao—year—old woman who wanted out of her gilded cage. krieps and director, marie kreutzer, were looking for a new project together but kreutzer was reluctant

to choose sisi's story until she read a biography of the empress. i thought, maybe there will be something in the material that resonates with me and makes me want to tell a story about her. and the point where realised that that was or could have been her struggle — the struggle against a system and against a lot of men telling her what to do — and that was of course very much something that resonated with me, and also as a woman in a very different but exposed position as a director. i am very often the boss of a lot of people and also of a lot of men, so that kind of touched me very deeply. like so many royal women, sisi has already been portrayed by hollywood, possibly because in real life she was outstandingly beautiful. three films were made in the 1950s starring romy schneider as the empress.

the first sisi was seen by around 25 million people in cinemas. a key horse rider, gymnast and a scientist, she's also proving a fascinating heroine for now when tv series are looking for inspiring women of the past. sisi has been the recent subject of five productions, including corsage. there's also been a lavish european tv production called sisi. and now a netflix series, the empress. she's planning a life of me that i don't want. they start by showing a youthful, spirited royal. en empress who is a shimmering light. an empress who is a shimmering light. however, corsage starts on the empress�*s 40th birthday, and focuses on her inner life and her documented depression. sisi also suffered from an eating

disorder and refused to have her photograph taken once she was in her 30s. krieps, who won the un certain regard best performance prize at canne for this role shows sisi as bored, unhappy with her prince, and unsure of what the future holds. you have what i think nowadays we call celebrity culture and she was, i think, the first victim of it, you know, without instagram. they were handing out little pictures of her, hand—painted, saying, "this is the most beautiful woman on europe." forcefully exhales. so, can you imagine? that's just crazy. and then people think they own your image and they own the right to talk about you, and to judge about you, and you say how you look, especially as a woman, you know? like yourfigure, yourface, your skin, your hair, your — you know? it's just a lot for one person, you know? what's changed ? chuckles. yeah! and that's why i wanted to make

the movie — to show this — because it has not really changed. the main facts that are still quoted about empress sisi of austria a century later are much based on her physical appearance and not her inner life, that she maintained a 16—inch waist throughout her life, despite her pregnancies, and that she had a three—hour daily hairbrushing routine. corsage excels in showing the boredom of court life at the time and how she might have despaired. it was also, for me, about all of us women, about all of us who are brought up by society with the obligation to please in order to be loved, and to fulfil an image, and to make everything right all the time, and always be nice. chuckles. and that was something that i wanted to stand up against.

corsage is austria's entry for best international film at the oscars, and having made its progress from europe to the new york film festival should also work its charms on the audience. despite the corset that hemmed in sisi, corsage feels nothing like a costume drama. one of the best movies i saw at the new york film festival year was tar which, in many ways, is a character study of a fascinating but disturbed female conductor played brilliantly by cate blanchett. tar is a very intelligent film written and directed by todd field, who hasn't made a movie in several years. it really is a film for our times. it deals with such issues as cancel culture and corporate power relations. cate blanchett is a celebrated fictional lydia tar, a brilliant and ambitious principal

conductor of the berlin philharmonic. she is also tyrannical, predatory and ruthless. i am worried. she is starting to disappear into herself. in the film we watch as she becomes hoisted by her own petard. how do you view lydia tar, because she has a complicated woman — there are things about her i really liked, other things i found repellent. yeah, i mean, you think about hedda gabler, the great complicated characters, whether they be male or female, always do things that we don't want to identify with. my mother said to herfriend, "you're not going to like her!" i said it may be more to the point, you don't want to like her, because she is doing things that you don't have to be a classical conductor or an artist in order to recognise those domestic small manipulations, those transactional relationships that we all have, that we all participate in, you know, and i think lydia

does and says things that we perhaps all do, but don't want to admit to. filmmaker todd field last made a movie, little children, 16 years ago. his new picture is different, with its themes of power, lust and corporate intrigue. and he believes that with lydia tar, he has created a woman who is actually quite human. she does things that are hypocritical, he does things out of capriciousness, she does things to protect herself politically. essentially she is a human being, you know, and i don't think we, oftentimes we don't like to look at ourselves that way in the mirror, but i can't imagine that those things aren't relatable to any one of us. and i understand from reading that you always wanted cate blanchett for this role, and that if she had told you no, you wouldn't have made the movie, is that true?

that is absolutely true, yeah. the most important decision in making a film like this is who is playing lydia tar, and normally that is a decision i would make after i wrote the script, but i made that decision before i wrote the script. so there was no—one else. my right hand, the second—hand, marks time and moves it forward. however unlike a clock, sometimes my second—hand stops, which means that time stops. this has to be one of the best performances cate blanchett has ever given. she is bound to figure prominently in next year's oscars race. how proud are you of what you have achieved in this film? look, i am incredibly proud to be part of this film. even though i play the title role, i think there is an incredible ensemble, and obviously to be directed by todd, i am proud to be part of that conversation. in 1955, a 14—year—old african—american boy called emmett till from chicago

was kidnapped and lynched when he went to visit relatives in mississippi. his mother insisted that his brutalised body was brought back to chicago for the funeral, and there should be an open casket so the whole world could see the horrors that white racists had inflicted on her son's body. now here at the new york film festival is a new movie called till. it tells emmett till�*s story, but the focus is on his mother. you have to be extra careful with white people, you can't risk looking at them the wrong way. i know! be small down there. like this? an exuberant emmett till left home in august 1955, never to return. emmett till has been found dead. he was slaughtered in a lynching by white racists in mississippi. i want to talk to

you about that boy! they've come for you! his sin, apparently wolf—whistling at a white woman. this new film looks at his mother's story. why did they take my child from me? how she made sure her son's open casket was photographed so everybody could witness how bigots had mutilated his body. you have the public�*s attention. we have an opportunity. it also tells how she became a civil rights activist. whoopi goldberg plays emmett till�*s grandmother in the movie. she is a big believer in the film in that it throws light on an ugly moment in the history of american racism. this movie sort of pulls it all together and says "this is what it looks like, "this is what systemic racism looks like, "and all the ways it radiates outwards". so for me, it is important because i feel like the world we are in needs a big reminder, because i see things happening all

over the world and i am thinking, how are we going backwards? what is happening? did you like the fact that this story about emmett till could have been told just through him, but it was really told through the mother, wasn't it? that was all the women who were part of the producing and directing team, we were like, this is a mother—son story and it was imperative for us to show that to people. this was my boy. till is really held together by a very strong, exquisite performance from danielle deadwyler who plays emmett�*s mother, mamie till mobley, a very dignified and inspirationalfigure. the lynching of my son has shown me that what happens to any of us anywhere in the world had better be the business of us all. the actress really respected her. i respected everything about her. how she comes understand herself

beyond her own personal motherhood, shifting and refining that to move into a particular activism — all of that was deeply new and deeply respectful, to give oneself over as well as one's child. the film has been brought together chinonye chukwu, by a filmmaker who really made an impact in 2019 with her first feature clemency. i am going to fight for him right up until the very moment you stick that needle in his arm. set on death row, it followed the relationship between a prison warden and an inmate, and shows how overseeing executions took a toll on the warden. how do you keep doing it? i do myjob. those pictures of your son changed people's lives. i with till, the director packed an emotional wallop, making vividly clear the impact of bigotry. do you think your film can actually change people? i mean, if a white racist watched your film, do you think it

would get through to them? i think this film can make these people interrogate their own place in the world and the ways that they navigate or perpetuate certain oppressions and —isms, and hopefully can inspire people to ask the question, how can i affect change, or how do i contribute, how can i contribute to the world in a way that can expand justice? till is a film that still sadly has topical relevance. the emmett till anti—lynching act only became law this year, reflecting the long—held resistance to it. resistance fuelled by the same racism that cost emmett till his life. well, that brings this new york film festival edition of talking movies to a close. we hope you have enjoyed the programme. these remember you can always reach us online,

please remember you can always reach us online, and you can find us on twitter. so from me, tom brook and the rest of the new york production team, it is goodbye — as we leave you with something a little bit intense, a music sequence from the film tar, starring cate blanchett, which was shown here at the new york film festival. ominous vocalising.

hello. a fine afternoon for much of england and wales. rain across northern ireland are moving through more of scotland as the day goes on and with that it's quite windy as well. we have an area of low pressure which is passing the uk well to the north, but the trailing weather front is bringing that wet weather in and as we go through tonight that will move south eastwards across more of wales and england and behind it, clearerskies. so this is the progress of the rain as we go on through the rest of the day. into this evening it will begin to clear away from northern ireland and from northwest scotland eventually will see some of that rain heading into towards north west england and north west wales and more of northern england and wales as the evening goes on. as i mentioned, it's windy. these are average speeds, some gusts around northern scotland, northern and western isles, 50 to 60

miles an hour in two tonight northern and western isles, 50 to 60 miles an hour into tonight to the first part of monday's while, some large waves around some of the coasts, mild feel in the sunshine towards the southeast after what was a decidedly chilly start to the day. so this is what happens this evening then. and the rain clears from scotland and northern ireland moves further south through northern england, wales into the south west, not reaching maybe the very far south east of england until we get on into monday morning. behind that, it'll be a chillier night. it'll stay breezy with clear spells. lots of showers still continuing across western scotland. so some early rain into east anglia in the southeast. that should clear away from kent by lunchtime and for many places it'll be a breezy, sunny day. there'll be still showers packing into western scotland. a few for northern ireland, north west england. north wales may be feeding on the breeze into the north midlands, but again many places will stay dry. and the strong wind in northern scotland will gradually ease later in the day. and it will be a cooler feeling day out there. now, overnight and into tuesday,

there is a ridge of high pressure just extending across particularly southern areas. so here the wind will die off, there'll be clear spells and this is where on tuesday morning could well be a frost across parts of southern south east england in the very coldest rural areas to begin with. there'll be some early mist fog patches around to a lot of dry weather on tuesday. overall, it does look cloudier, though, and a weak weather front moving through northern ireland into western scotland will produce some patchy rain and drizzle. mayjust turn heavier towards northwest scotland later in the day. rain moving southwards on wednesday, rain spreading up from the southwest on thursday and we end the week with sunshine and showers much windier by then.

this is bbc news. im lu kwesa im lukwesa burak. the headlines at four... russia investigates how and what caused the explosion that severely damaged its state—of—the—art and well defended bridge to crimea. officials in the ukrainian city of zaporizhzia say 17 people have been killed by a russian missile strike on an apartment block. cabinet ministers are urging tories to rally behind prime minister liz truss to avoid risk of defeat at the next election. police in ireland have named the ten people who died in an explosion at a petrol station in donegal. investigations are ongoing to establish the cause. it is a huge impact to a small rural community. they are all local people. they are all very much involved in the community.

they were all people who are shopping in the local shop.