straight bats, stiff upper cricket, straight bats, stiff upper lips, straight colours. england, believe it or not are rewriting the rules and they are taking this game to new heights. no team has been been able to stop them in this tournament, it has changed the landscape and english cricket is at the top of it. landscape and english cricket is at the tap of it— landscape and english cricket is at theto ofit. ., ~' . the top of it. thank you so much, we will have to — the top of it. thank you so much, we will have to leave _ the top of it. thank you so much, we will have to leave it _ the top of it. thank you so much, we will have to leave it there _ the top of it. thank you so much, we will have to leave it there but - will have to leave it there but thank you for speaking to us. lets get an update on our breaking story. within the past few minutes the president of turkey says more than six people have been killed following the explosion in a busy area of central istanbul. the city boss mcgovern has confirmed the incident happened around 420 pm local time. incident happened around 420 pm localtime. despite incident happened around 420 pm local time. despite their being both casualties and injuries in a post on twitter, turkish authorities are yet to confirm the cause of the

explosion and that we had an update from president 0da gunn on the fatalities there. let's take a look at the weather forecast now. we've seen some unseasonably warm weather over the recent days, we will see temperatures returning closer to average values through the week ahead. it's also going to turn a more unsettled once again with spells of heavy rain and some strong winds, particularly mid week coming in from the atlantic, through the evening and overnight quite windy towards the west of the uk and wet overnight for northern ireland western wales and the far south—west of england. elsewhere it should stay dry, turn quite misty and murky some central and eastern parts on monday. call in east anglia, through monday our weather front in the west doesn't go anywhere, the rain will stick around across western scotland, cumbria and parts of wales and the south—west, central and eastern areas starting with quite a lot of that gloom should become brighter as the day

plays out, will you see straightaway temperatures are down on the figures we have had in recent days and then average values for tuesday and wednesday often very wet and windy. hello this is bbc news. the headlines: the chancellor, jeremy hunt has told the bbc more taxes and further spending cuts are on their way, saying there'll be some very difficult decisions ahead. president erdogan has said at least six people have been killed in an explosion in a busy shopping area in central istanbul, with more than 50 others injured the king led the nation on remembrance sunday observing a two minute silence and laying a wreath in memory of those who have died in war. the democrats have retained control of the us senate providing a boost to presidentjoe biden and dealing a blow to donald trump. ukraine's president says russian troops destroyed all critical infrastructure in the city of kherson and nearby areas

before they withdrew ben stokes has helped lead england's cricketers to victory in the men's t20 world cup final in melbourne vecoming double world champions. now on bbc news, talking movies: korean cinema special i have come to london's victoria and albert museum to the first exhibition ever to explore the global spread of korean pop culture — the drama, music, fashion and cinema that swept the world. i'm mixed race. my mum is korean, my dad is british, so, it brings me pride, it adds recognition

for korea, makes it more well—known. hello, i am tom brook with a special edition of talking movies devoted to korean cinema. i'm here in london at a special exhibition at the victoria and albert museum. it is called, hallyu! the korean wave. it's really looking at how korean pop culture has burst forth around the world. in talking movies, we will be looking at the growing global impact of korean cinema. we will be reporting from south korea's capital on the movie parasite, two years after its historic wins at the oscars. also park chan—wook, a towering figure in south korean cinema, discusses his latest film. and how women are beginning to make an impact in south korea's film industry, long dominated by men. and with many hits like parasite, what is next from korean cinema? what is the world about to see? korean pop culture of differing types is on display

at the exhibition, including characters from the netflix series, squid game, the deadly survival drama that has become a global sensation. to help me understand the quran wave as it pertains to cinema, i spoke to rosalie kim, who curated the exhibition. ——korean wave korean drama and cinema really exploded into the late 1990s. first a rippling across asia and this was a really crucial and hinge moment in korean history because by the 1990s, korea was a new young democracy that has overcome many years of oppression and repression, starting from the colonial period in 1910, going through the territorial division and the korean war and virtually 30 years of military rules. so it means by the 1990s, the film creatives were enjoying a creative license they had not enjoyed before for many decades. south korea's first democratic presidential elections in 1987

were a certainly a turning point, when years of military dictatorship came to an end, and then the film industry was helped when funding from both public and private sources began to increase. in 1999, korea managed to create its first home—grown hollywood—style blockbuster with the action film, if shiri. from that point i think there was a realisation that the cinema is a very valuable cultural export and there were conscious policies that were put in place to support the growth of korean film industry, to globalise it and, along with making the whole korean society more open. so, korean cinema certainly benefited from this openness, from removal of the censorship restrictions, from, really, the attention of the government to nurture it to support it and to let it grow.

nowadays, south korean storytelling is revered for its artistic inventiveness. the claim is made that it often outdoes hollywood in terms of originality. translation: we are a very small country, but we are - a very packed country, the population is very high. and because of this hustle mentality, as a person who works in film myself, we have to really, really hustle and strive to make high—quality films and i think that is the driving force that has made korean films as good as they are today, and that appeals to a global audience. well, you may recognise this set up — it is the bathroom scene from the film parasite and it has been very painstakingly recreated here at the exhibition, under the guidance of the set designerfrom the film. parasite was, of course, a movie that changed the perception of korean cinema around the world. what was it about the film that enabled it to become a breakthrough international hit?

from seoul, juwon park has this report. with four 0scar wins, including for best director and best picture, parasite dominated the 2020 oscars, becoming the first film not in the english language to ever win best picture. translation: it is the first time for a korean and asian| movie to win so this could be a big event but i think, at the same time, things like this will happen more often, it will not be news any more. translation: | think - there was a sense of immense pride that came from it and i also think it was a really good example that shows that you can actually bring artistic success along with commercial success and that the two can go together. the film itself is a darkly funny nightmare of what happens when a poor korean family become indispensable servants to a rich family.

they move into the luxurious home and find they can't give it up. it is a jaw—twisting plot combining comedy and horror as well as social commentary. translation: we currently live in an era of capitalism. - i think it is inevitable to tell stories about the rich and poor, notjust me but directors all over the world. i belong to the front, you belong to the tail. but bong joon—ho was no overnight success. he was well known to cinemaphiles and had already worked with international stars likejohn hurt, tilda swinton, and chris evans on 2013 sci—fi thriller, snowpiercer. another striking commentary on class structure, using a train condemned to travel around the globe, carrying rich at the front, poor at the back.

bong joon—ho has spent most of his film—making in south korea. but no district has become quite so famous as this one. jahamun tunnel in seoul, the setting for one of the most iconic scenes in parasite where they run down a long staircase after their harrowing escape. an area that features in many guidebooks and is a stopping point for many tourists. bong joon—ho said of parasite's win, that it removed the barriers that subtitles in films had been to english speaking audiences. certainly, parasite made international stars of its cast. that our actors have. that's why it's become so popular. parasite will quite simply sat in history as one of the great films of the 21st century.

korean cinema, at least when it comes to film—making, has been pretty much a man's game with male directors calling the shots but things are changing. as emma jones reports, women are gaining ground both in front of the camera and behind it. the first lady of korean film, kang soo—youn, became korea's first international superstar after winning the best actress prize at venice in 1987 for im kwon—taek�*s film, the surrogate woman, the story of a woman given to a couple to bear a surrogate child. she died this year aged 55 but kang was known for playing memorable, complex female characters long before that was considered to be important. 35 years after the surrogate woman, perhaps love is actress

jo eun—ji's directing debut, the tale of a middle—aged writer falling for his attractive student, and told humorously. she thinks seeing the breakthrough of stories for and by women are k—film's big challenge. translation: of course, - there are persisting problems in the korean industry today. i do feel it is a sensitive issue so i do not want to step on any toes or anything, but there is definitely room for improvement. one of the things that comes to mind is the dearth of female character narratives in korean cinema today. i feel like there is definitely improvement that's necessary in that area but on the other hand because, as you know, there has been a lot of global recognition for korean cinema, it is also thriving.

there have been some noticeable breakthroughs including in 2008, forever the moment, by new wave female auteur yim soon—rye, a fictionalised account of the korean women's handball team. 2016's the truth beneath, directed by lee kyoung—mi is a fast—paced thriller about a political scandal and kidnap. it was a big hit with korean critics, although it was co—written by park chan—wook, and unlike his erotic thriller the handmaiden, also from 2016, didn't get invited to major festivals. it is really interesting to think why that was. and i think partly that was because festival programmers and directors were not paying attention to films by women and films about women and partly it is probably to do

with the fact that she is not such a well—known figure in the west and so doesn't have the kind of fan base that someone like bong joon—ho and park chan—wook have. but hopefully will have in future. i think it was just a very different time. maintaining a good outward appearance has been part of traditional korean society for centuries and in modern times, this pressure inevitably and usually falls upon women. has this got something to do with the way women are portrayed in film? certainly, this year's notable films by female directors deal with a highly sexualised society. jeong—sun, widely played at festivals this year, is jeong ji—hye's debut film and a look at south korea's epidemic of digital sex crime through the story of one woman whose quiet life is ruined by it.

the director of the london korean film festival, lee eun—ji, this year has again a spotlight on women's voices. i would say young female film—makers in korea, they are still struggling and they mostly talk about women's rights also daily lives of the young women and that is why they talk about more deep relationships, characters, like mother and daughter but they can go more deep down and in more detail and dig into different ways how to film in the real world. a short film, nipple war 3 by paek si—won has also gained a few headlines as a humorous take on a female tv producer refusing to pixelate part of the woman's body on screen. just as in the rest of the world women's voices

you are getting heard, but as yet they are rarely getting are rewarded. you might wonder what is going on behind this curtain at the exhibition. they are showing a very violent clip from the classic korean movie, oldboy, and they want to alert visitors to that fact. that film was directed by park chan—wook, who is one of south korea's most illustrious film—makers. recently he had new film that came out, it's south korea's submission to the oscars next year. it's called decision to leave, and i went to meet him to talk about the film. decision to leave tells a story of a detective investigating the suspicious death of a man at the foot of a cliff. his widow seems unmoved. has she played a role in his demise? the detective finds he's attracted to her.

the director hopes the ethical conflict posed in the film can engage the audience. translation: | would say - when the emotion or the desire of love comes into conflict with social ethics, then sometimes love itself becomes a prison for other people. and for some, the social ethics become prison for them. so that contrast may be something that the audience can take away and really think about afterwards. director park chan—wook studied philosophy. he was a film critic. he knows cinema history, and he's long been impressed by british director alfred hitchcock. it is said that hitchcock's psychological thriller vertigo influenced decision to leave. i watched vertigo when i was in college and that inspired me so much that i decided to become a film—maker one day.

so, i don't think i will ever be out of the influence of hitchcock, and decision to leave is one particularfilm that shows much influence from him. as i mentioned, a clip from park chan—wook�*s celebrated 2003 film oldboy was on display at the hallyu! the korean wave exhibition. it's of a violent fight in a corridor, seen as an impressively choreographed sequence in a movie which tells of a man kidnapped for 15 years who, upon release, attempts to track down his captor. the picture brought south korean cinema a lot of very positive international acclaim. i do agree with you that it was oldboy that put korean cinema on the map but, you know, there are other korean films before oldboy, of course, that were well—received outside of korea. but oldboy was the film that made this whole brand that's called korean extreme films. decision to leave doesn't exhibit much of park

chan—wook�*s trademark extremes. the closest the leads come to expressing sexual attraction is the touch of a hand. the reviews of this rather different park chan—wook film have been strong. its plot turns may be hard to follow but it's a beautifully accomplished picture and you always know you're watching the work of one of the great masters of world cinema. ever since parasite won the best picture oscar and the top prize at the cannes film festival, everyone has been wondering what the next big thing will be from korean cinema. well, emma jones has been finding out what lies ahead, what's in the pipeline, what great, compelling cinema from south korea is on its way. it's notjust korean auteurs who are getting more exposure internationally. alienoid, by director choi dong—hoon, is a melting pot of time travel, sci—fi aliens and fantasy, all in one big blockbuster.

it is pure fun, designed to entertain — like the rest of his films. rock music plays. one of korea's most commercially successful directors, choi's credited with introducing the heist genre to korea — most famously in 2012's the thieves, hello! thank you, nice to meet you! nice to meet you. i met him as alienoid opened at the london korean film festival. the movie's just been released in the us and canada, as well as in the process of being sold to other countries. translation: i showcased my other film over ten years ago . with the london korean film festival and the korean cultural centre, and it certainly does feel different. but the audience remains a mystery.

my life's focus is on how i make good films. but the korean film—makers — for them, the audiences are expanding, so i do now think about what the international audience finds good and interesting in my films, so i think about that more. next, choi is working on a thriller, wiretap, starring this famous face — leejung—jae, the former model now actor, basking in global fame thanks to emmy—winning netflix show squid game. leejung—jae is the star of hunt, and it's also his directing debut. it is one of korea's top ten biggest movies of 2022, now coming out internationally. this espionage thriller rattles along at 100 bullets per minute. it's plot is that after the assassination of south korea's president park in 1980, north korea thinks of invasion.

his huge fan base may well have been considered when he was offered a world premiere at the cannes film festival, but he'd laboured on the script for four years — long before squid game. translation: i actually had no ambition for directing. - in korea, most directors write their own screenplays and i had no faith in my ability to write my own, so i actually wanted to give producing a try, because i've been acting for 30 years, so i thought maybe producing would be possible, so i bought the rights for the original script and then i tried to find a director and writer to help me fix the screenplay and direct. it took me four years to write my own scenario and because i worked so hard on it, i thought maybe i know best how to do it, so i picked up my courage and decided to direct this as well. for those who prefer korean arthouse, japanese auteur hirokazu kore—eda shot his latest film broker in south korea.

song kang—ho of parasite fame is the lead actor here again, and after he was awarded the cannes film festival best actor prize, this too will have a global release. it's a quirky story, with song kang—ho playing an unusually kindly broker of baby sales, surprised when one mother returns for her baby. translation: with a story like this, if it was reported | on the news, they'd be bad guys — brokers trying to sell babies. but when you have a camera inside the van, you start to see a different side to the characters and i wanted the audience to see a different side of them — a glimpse of what you wouldn't get to see — and i think i do that a lot in my films. i wanted to show a different side to what we'd see in the media, and for people to realise we don't know the whole story.

there's still one of the biggest beasts of all ready to be unleashed on audiences, hansan: rising dragon, by kim han—min. a prequel to korea's most successful movie ever, 2014's the admiral — the story of how a tiny korean navy defeated a much largerjapanese fleet. thanks to this global appetite for k—content, korean films are also able to punch above their weight. this exhibition confirmed to me that south korea has made some of the very best cinema in the world but there's something ominous in all the creativity in those films informed by themes of class warfare and violence. korean cinema is perhaps serving as a sentinel, warning nations where income inequality is growing of the dangers that may lie ahead.

well, that brings our korean cinema special to a close. we hope you've enjoyed the programme. please remember you can always reach us online at bbc.com/talkingmovies and you can find us on twitter. so, for me, tom brook, and the rest of the talking movies production team here in london, it's goodbye. # can you feel it? as we leave you with some exhibition highlights and enjoyable participatory activity. that that featuring suga of bts by psy plays. #junbihasigo! # go! # ssoseyo! # oh! # that, that, i like that. # like that. # gibunjoa, baby! # baby! # heundeureojwa u wi araero. # sing it! # one, two, three to the four. # sing it! # one, two, three, to the floor. # that, that, i like that. # that, that, i like that, baby. # that, that, i like that. # it's like that, that, yo. # that, that, i like that. # that, that, i like that, baby. # that, that, i like that. # it's like that, that, yo. # do what you want! # say what you want! # do what you want!

hello, there. there was some spectacular sunshine to the west of the uk, this sunday afternoon, around some remarkable temperatures for the time of year, 20 degrees in west wales, 8 degrees above average. it is going to get cooler as we go into this week. it will also get quite wet and windy it is going to get cooler as we go into this week. it will also get quite wet and windy for summer but at times. winds are strengthening towards the west, rain being ushered into northern ireland, wales and the south—west of england overnight. central and eastern areas remaining fine red cloud, mist and murk filling in again particularly as we get over it the north sea coast, quite chilly initially in east anglia. grey weather will tend to lift through monday daytime, towards the west this weather front very slow moving, it peters out as it sits in place but looks quite wet for western scotland, some parts of wales and

the south—west throughout the day. this continues to weaken as a head eastwards, then at this low takes over, pushing in from the west and this front means business and it means business for all of us, i'll sweep right the way across the uk during tuesday, heavy rain whilst it's around, but as it moves through, back into the sunshine for the afternoon for northern ireland, wales and the south—west, albeit with some showers. notice temperatures are starting to come down significantly back to more average values. tuesday into wednesday, with no pressure to the north—west, smaller features running around inside the uk, exactly where they sit so exactly where the wettest weather is at what time is subject to change as we get closer to the time, also with the strongest winds are, wednesday looked particularly westwards the south, based on current thinking and wednesday evening, particularly windy for england and wales, along the channel coast, gusts of wind 45—50 mph. after midnight the wind is picking up across the north—east of england and for the north—east of scotland.

in fact through the early part of thursday. a showery picture across the uk on thursday, quite breezy, friday things start to get quieter, drier for many and the winds becoming lighter. even though it gets dry on friday, take a look at our rainfall totals for the week and you see it as pretty wet prospects for all of us in the next five days, for some areas close to 100 millimetres possible.

our this is bbc news the headlines at 4:00: the chancellor, jeremy hunt has told the bbc more taxes and further spending cuts are on their way, saying there'll be some very difficult decisions ahead. we are going to see everyone paying more tax, we're going to see spending cuts. but i think it's very important to say that we are a resilient country. just because you have to make difficult decisions, doesn't mean you have to make the same decisions. and the decisions and the choices that labour would be making would make our tax system fairer and would grow the economy so that we've got that money for those essential public services. president erdogan has said at least six people have been killed in an explosion in a busy shopping area in central istanbul, with at least 50 others injured.