this is bbc news. the headlines... there are long delays for some passengers travelling to the uk after a nationwide issue with the border force system has lead to problems with e—gate passport controls. long queues were experienced at the port of dover which also suffered from an it glitch. it's the final day of campaigning in turkey ahead of one of the country's most divisive presidential elections where the economy and immigration are key voter concerns. huge political rallies have been held to drum up support but they come as the turkish lira sank to an all—time low against the dollar. ukraine's most senior security official tells the bbc the country is ready to launch its long—expected counter—offensive against russian forces. in a rare interview, oleksiy danilov

describes the planned assault as an "historic opportunity". a man arrested after a car crashed into the gates of downing street earlier this week, has been released while under investigation. now on bbc news... talking movies — cannes film festival special. hello from the french riviera. i'm tom brook and welcome to talking movies. in today's programme, highlights from one of the world's great movie events, the cannes film festival. coming up in the programme — the excitement of cannes. the strong lineup of films and the wealth of famous names from international cinema

on the red carpet. top movie stars on being in cannes. harrison ford returning as indiana jones, overwhelmed by the festival's adulation. it was, uh, indescribable. adored by his fans but not by all, the once mighty hollywood superstar johnny depp in cannes discussing with me, if somewhat uncomfortably, his comeback role. i mean, comeback is a weird thing because... he never left. no, i didn't go anywhere, you know what i mean? and martin scorsese is back on the riviera with a western crime drama that was a big hit. also how a book written by bianca stigter, the dutch wife of british filmmaker steve mcqueen... it's great to see you. ..led to him making a powerful documentary connecting me very emotionally to my germanjewish family. hopefully the triumph of the film is that — let us not forget, let us not forget. and in cannes this year,

african cinema was celebrated more than it ever had been, and there were more women than ever before with films in competition. there remains much uncertainty in the global film industry but this year's festival delivered some strong magical cinema. all that and more in this special cannes edition of talking movies. cheering and applause. the big news at the start of the cannes film festival this year was thatjohnny depp was coming to town. he starred in the opening night film which is called jeanne du barry, it's a french language period drama in which he plays the king louis xv who gets involved or falls in love with a young social climber played by the franco algerian actor maiwenn who also directed the picture. talking movies got an interview withjohnny depp whose career has been derailed in recent times by high profile legal battles with his former wife amber heard involving domestic abuse allegations.

johnny depp certainly created a lot of excitement with his presence in cannes, but the creative force behind this picture comes from maiwenn who was deeply fascinated by this story of a humble french woman who became the mistress of louis xv. i wanted to tell this story because i fell in love withjeanne du barry's story. maybe for her character, maybe for her life, for her love story. ifelt, you know, when you fall in love with someone, sometimes you know why and sometimes you don't know why, and maybe that's my case. in this french language film, johnny depp doesn't have that many lines. he had a decent knowledge of french, which helped. as an actor, does it change the rhythm of your technique in a way, having to act in french? for sure, i'm a good student

and i have a great teacher and i had two great ears and also two amazing eyes to look into to know when i had gotten through orjust squeezed by, orfailed miserably in the french department. jeanne du barry isjohnny depp�*s first majorfilm role in three years. to his critics he has a pariah, a controversialfigure, an alleged domestic abuser that shouldn't be embraced by cannes, though the festival director has strongly defended his choice to include the film. but many in the industry do welcome his return, as do his fans. there are complaints about you being a controversial figure and therefore the film should not have been included in the cannes film festival, what are your thoughts about that? it's none of my business, it's really none of my business.

i am the director and i never heard about a movie that hasn't had his place here, never. why? laughter. i mean, at least i was far more controversial many years ago than anything now. but, listen, you know, things go in whatever direction they go and more than anything all the weirdness has been cleared up, so it's done. and that's why it's like, it's — i'm certainly not going to allow this thing to sort of define anything that i've done before, anything that i'm doing now or what i'm going to do. it doesn't exist for me anymore. reviews for depp injeanne du barry were mixed. some stating he looked uncomfortable in the role but, more importantly, cannes was not

a public relations disaster for him. he also just renewed an endorsement deal with the fashion house dior and he's raising money to direct a new film starring al pacino. hollywood loves a rehabilitation narrative and while it's still fragile withjohnny depp, that appears to be emerging. i'm at the after party here in cannes to celebrate the launch of the latest instalment of the indiana jones franchise. indiana jones and the dial of destiny. it has an 80—year—old energetic harrison ford portraying the intrepid archaeologist. it is taken what is referred to as the blockbuster spot in cannes. last year that went to top gun maverick which really did wonders at the box office. the indiana jones film is just one of several american movies here at cannes this year, as emma jones has been finding out.

destiny was fulfilled for indiana jones at cannes this year. the last film of the franchise had its world premier here. harrison ford even received an honorary palme d'or for his career. the octogenarian actor was more emotional than any fan, tearful during the film's press conference. it was indescribable... ifelt, um... i can't even tell you, i mean, it's just extraordinary to see a kind of relic, your life, passes by. i'm retiring... in that case, what are we drinking? same for the god—daughter! this is certainly indiana jones�* last adventure even though ford says he'll carry on working. the film showsjones as an old man, dragged out of retirement and brought back to life by his god—daughter helena who's interrogated his sense of adventure. ——inherited his sense of adventure. she's played by phoebe waller—bridge. he's a character you can't let go of, isn't it,

in the sense that he's so wonderful, we want to see more of him. well, i was always ambitious with this final film and it is my finalfilm. to see the effect of age. we've been making these films for a0 years, we can't deny the effect of age on the character and i wanted to see that developed into a complex story. however, you can see a glimpse of indiana jones in all his youthful beauty in parts of the film, in a flashback opening sequence. directorjames mangold raided previous indiana jones director steven spielberg's archives and made use of digital technology to recreate the sequence. stephen shot four indiana jones movies with harrison. three of them were in the age that the opening sequence takes place and so we had an incredible reservoir of footage of harrison's

face, dressed, as indiana jones, every expression, every lighting style, so it gave us an incredible leg up in terms of how to render him, youngify him, if you will. and on top of that, harrison's not a pound over the weight he was when he was 35 years old. the studio also hosted a lavish party for the film, hearing back to pre—pandemic days. yet despite the buzz around the premier and the franchise's billion dollar contribution to the industry, with mixed reviews, the film's unlikely to repeat for hollywood in business what top gun maverick achieved from the moment it arrived on the cannes croisette last year. in 1976, the great american director martin scorsese came to the cannes film festival with the new york city set film taxi driver with robert de niro and a very young jodie foster. it went on to become a huge movie classic. well, 47 years later, this year, martin scorsese returned to the cannes film festival with one

of the more eagerly awaited american movies, the western crime drama killers of the flower moon. here is kaleem aftab. what makes this film so exciting is that not only does it have de niro in, it has leonardo dicaprio — the two great muses of scorsese's directorial career. what we actually get is dicaprio as kind of a muted guy — we're not sure what his motivation is, but he marries a very rich native american in osage county in the 1920s, and he has this uncle, played by de niro, called william hill, who's encouraging him to be conniving and we get the impression that the uncle wants the nephew to take all

of his wife's money. and overall, it's a beautifulfilm. it really takes us through how native americans were notjust poor and mistreated, but could also be rich, but how white power worked, and scorsese really nails it. the film went down like gangbusters in cannes this year. scorsese is being fated a triumphant return. the film has a classic ending that for many will feel perhaps like it's scorsese's last movie, even though he says it isn't. but if it is, he's gone out with a bang and cannes has definitely fated him in the way that his magnificent career deserves. can you find the wolves

in this picture? some great british filmmakers were in cannes this year, among them steve mcqueen. i have to admit i'm a big fan. he's a compassionate storyteller and extremely gifted. at the festival, he launched his new documentary, called occupied city. it is four and a half hours long. for reasons i will explain, i was totally overwhelmed emotionally by it. we're starting a hunger strike on the first of march. hunger, a film set in northern ireland in 1981, telling the story of hunger striker bobby sands really put steve mcqueen on the map. it was launched in 2008, and brought him many accolades. how do you feel being back on that time, being here on the french riviera, the centre of attention? it was amazing. again, there's nothing better

than the first time. there's no — there was no expectation. and once the film had finished, we were ushered on stage, standing ovation for 20 minutes. michael fassbender was in tears. it was incredible. since hunger, steve mcqueen has made some memorable films, including the oscar—winning 12 years a slave. we retrieved this footage from the bbc�*s archives. it shows the nazi occupation of amsterdam, which lies at the heart of steve mcqueen�*s new film, 0ccupied city, inspired by a book his wife, film director bianca stigter, wrote, called atlas of an 0ccupied city. mcqueen and his wife live in amsterdam. his film is a door—to—door iteration of the horrors the nazis wrought, as well as a more contemporary portrait of the dutch city at the time of the pandemic. only one still image was given out to journalists, otherwise we would being showing you a clip.

the book documents, let's say, street by street and house by house, and sometimes even floor by floor the extremes of what happened during the second world war. it was kind of written as a kind of travel guide to the past of amsterdam, you could say. and steve now used those addresses, and you hear what happened there in the past, but you see only what it is now. the film is four and a half hours long. i mean, that is a lot in a way to ask of an audience. i didn't notice any complaints when i watched the film. but what do you hope people get out of investing that time and what you have greeted? this movie couldn't be an hour and a half, for obvious reasons. there was a weight to it, and i think that we needed to be manifested in length and journey. that you do go along with it. but, at the same time, you realise it is bigger than — it's bigger than what you see. i found this film to be emotionally devastating, but in the most rich and rewarding way.

this is my grandfather, werner friedrich brook, a germanjew in breslau. when hitler came to power, he was forced into retirement. he lost hisjob, his home, his status. a broken man, he went to the netherlands, as did many other germanjews. most of them perished, while my grandfather and his family found safe haven in britain. i cried the whole time i watched 0ccupied city, thinking of the nightmare my family avoided. the film did what powerful art can do — unlock emotions we don't know we have. there were a lot of tears. there — we are so resilient, human beings, and whatever is in front of us, we keep on going. do we have a choice? not really. because we don't know what is around the corner. and i think that's — that hopefully is the triumph of the film, that let's not forget, let's not forget. real—world events have a habit of changing the way in which a film is experienced at the cannes film festival. it happened this year with the first

picture from sudan ever to have made it into the official selection. it was to have been an historic moment of triumph for the filmmaking team, but, instead, it also became an occasion of sadness and anxiety over the fate of their country, given the current conflict. the film is called goodbyejulia, and it's directed by an aviation engineered turned film—maker, mohamed kordofani, set before south sudan gained independence in 2011. its presence in cannes as it is a pivotal moment — and great step forward for the sudanese film making community. but mohamed kordofani told me before arriving in cannes he felt torn. it is a bittersweet feeling, to be honest, because as i walk the red carpet, i know the people are fleeing their homes, and trying to get to safety. 0n the other hand, i know that this brings attention to what's

going on in sudan in some way can help. the film focuses on the story of two sudanese women from very different backgrounds — one a northerner, the other a southerner. it reveals our racism has shaped their lives. it's a story of reconciliation. the film doesn't have a direct bearing on the current conflict, but the director hopes his portrayals will shed light on the human beings caught up in all the mayhem. if this film can allow people to see past the smoke and the bombing and just see the people who — who live in these homes, i think that emotional and humane connection matters more than political views, so — so that's really what i am hoping out of screening

this film in cannes. cannes is a world away from the strife in sudan, but, with his picture, mohamed kordofani has made sure that at least many film—goers will ponder the fate of his country amidst the glitz and glamour of the french riviera. going into cannes this year, commentators were noting that africa was finally having its moment at the festival. there were more africa—set features in the official selection than ever before. and what's interesting is this wave of filmmaking is being driven by some extremely talented female directors, as emma jones has been finding out. well might kaouther ben hania and the cast of her documentary drama four daughters dance at its cannes world premiere. it has been praised for its innovative way of storytelling. four daughters is the real story of 0lfa, a tunisian woman whose daughters left suddenly

tojoin islamic state. ——two eldest daughters left suddenly to join islamic state. ben hania got two actors play their parts as the remaining family pieced together what led up to that moment. i started by shooting a fly—on—the—wall documentary, but i quickly realised that it's not interesting, that i need more to dig deep in this story. i need more tools. and so i borrowed tools from fiction — from cinema, mainly — to go further and to tell this story in a better, deep way. so it isn't the kind of re—enactment, but a kind of dialogue, i think, between actor and real character. six years ago, the director had a film at cannes called beauty and the dogs, the story

of a tunisian woman seeking justice after a brutal attack by police officers. a follow—up, the man who sold his skin, the story of a syrian in europe, was 0scar nominated for best international film. this year, she represented tunisia in the main competition at cannes. the world is changing and cannes is, i think, they are, you know, sensitive to the changes. so the fact that there are two women directors from africa in the main competition with names like ken loach, wes anderson, it is a great thing. the film banel et adama is set in a remote senegalese village using only non—professional actors and tells a story of a woman who longs to leave and live only with a husband, adama. yet climate changes is impacting the region and they can't escape their communal obligations.

yet climate changes is impacting the region and droughts mean they can't escape their communal obligations. translation: | wanted to write i a really great love story like romeo and juliet, but a love story that would take place in africa, in senegal, and i wanted it to be a tragedy like phaedra, or lady macbeth. director ramata—toulaye sy first wrote the screenplay for her film school diploma, and she's only the second black woman to have shown a film in competition at cannes. translation: i was feeling a lot of emotion on the red carpet - during this big screening at the theatre lumiere. and a lot of pride, too — a lot of pride to have a first film in competition, especially since i started directing very recently — just three years ago — and a pride to represent africa, especially in competition. these films in the continent of africa that are in official

selection at cannes certainly feels like a seismic moment for the festival, a moment where perspectives in world cinema are changing, and the event certainly doesn't feel as eurocentric as it has done before. well, that brings our look back at some of the highlights of this year's cannes film festival to a close. we hope you've enjoyed the program. please remember you can contact us online and reach us on twitter. from me, tom brook, the rest of the talking movies team, here on the french riviera, it's goodbye.

hello, there. it's been a pretty good week to have been on holiday in the uk and there we got the bank holiday weekend and prospects are looking good and again not too many changes or dry weather. sunshine may turn a little bit cool is that weekend goes on. essentially, hypertext charge keeping it dry for the most part. the only fly in the moment, ointments, and it's a small fly commits the week for the fun coming down the north—west and stronger winds will bring more cloud and into scotland and northern ireland but not much rain, as you can see. some sunshine in the north—west later on. south of scotland dry, bright and quite one. some patchy cloud for northern england. sunny skies for the south village in wales are not as winding south on saturday. it's going to be a warm and day for england and

wales, temperature is widely reaching 22—23 . to do my cooler weather, though, arrives in the north—east of scotland and actual airflow as the week with a front heading out into the little say. high pressure than brings in behind that and cool air topples down from the north. as we head into sunday, may be some changes to come. starting off whites in the most places but increasing amounts of clouds with the best of the sunshine hanging on across the western side of the uk and highest temperatures getting squeezed down towards the south—west cooler and in northern and eastern areas. still have high pressure around and differences in amounts of cloud from day—to—day and if few isobars in the heart and a chilly wind coming in of the nuts as well. there may be some cloud for a while pushing its way into england and wales that will move through

life has scotland there should be some sunshine. sunny skies england and wales with the colour wind in the south and temperatures on the call will be low in england and wales. similarscene call will be low in england and wales. similar scene early on tuesday and perhaps more crowd, cloud coming in brisk winds into central and eastern areas. high—temperature is likely to be into the low 20s across western areas of scotland. again, west as best as we head into wednesday and there is a area of high pressure not changing very much more isobars in the south and still that brisk wind blowing. we may be looking at the sky is not much cloud around but cooler a north sea coasts and highest temperatures in the low 20s and maybe even a little bit higher than that when it looks lighter.

looking further ahead high pressure still close by not retreating quite as quickly but there is falling fish in the south coming all the way from spain and portugal because france and it brings the potential next weekend may be for a few showers or southern parts of the uk. high pressure is not declining rapidly warmer air coming pressure is not declining rapidly warmerair coming upfrom pressure is not declining rapidly warmer air coming up from the south not coming up in the north—east uk so quickly. looks like it will be continued dry and warm with plenty of sunshine and could get beyond the 24 of sunshine and could get beyond the 2a well but we do have this caveat there could be a few showers in the south next weekend.

live from london. this is bbc news. long delays for some passengers travelling to the uk — there's a problem with the border force e—gate passport system. we're live here at heathrow airport — one of the many airports across the uk experiencing disruption at the moment. it's the final day of campaigning in turkey ahead of one of the country's most divisive presidential elections. ukraine's most senior security official tells the bbc the country is ready to launch its long—expected counter—offensive against russian forces.

hello, i'm lewis vaughanjones.