now on bbc news, talking movies. hello from new york, and welcome to talking movies. i'm tom brook. in today's programme, the new york film festival, one of my favourite autumnal cultural events, bringing great cinema to new york city. a highlight of this year, the opening night film, new adaptation of macbeth starring frances mcdormand and denzel washington. we starring frances mcdormand and denzel washington.— starring frances mcdormand and denzel washington. we hope that eo - le denzel washington. we hope that peeple enjoy _ denzel washington. we hope that peeple enjoy it — denzel washington. we hope that people enjoy it and _ denzel washington. we hope that people enjoy it and respond - denzel washington. we hope that people enjoy it and respond to - people enjoy it and respond to it and we will see what happens. it and we will see what happens-_ it and we will see what happens. it and we will see what hauens. happens. macbeth, the so-called scottish player. _ happens. macbeth, the so-called scottish player, has _ happens. macbeth, the so-called scottish player, has been - scottish player, has been adopted into more than 25 different movies. we look at those that made an impact. a shocking body horror thriller, titane, alysia's big winner at the account into small, came to new york with its director and star. ., , , , , ., star. told myself, pretend you are doing _ star. told myself, pretend you are doing a — star. told myself, pretend you are doing a little _ star. told myself, pretend you are doing a little show. - star. told myself, pretend you are doing a little show. this i are doing a little show. this is a weird show, butjust have fun with it. is a weird show, but 'ust have fun with mi is a weird show, but 'ust have fun with hi fun with it. there were many tossible fun with it. there were many possible times _ fun with it. there were many possible times of _ fun with it. there were many possible times of great - possible times of great performances, a real stand out, benedict cumberbatch and the power of the dog. and some great documentaries, one using animation to chronicle the plight of an afghan refugees fleeing the taliban 25 years ago. and the other, a portrait of the influential new york rock band formed in the 1960s, the velvet underground. like almost every british schoolchild of my generation, i had the works of william state that william shakespeare thrown at me. but i have to admit, the only player of his that i received with a massive amount ofjoy received with a massive amount of joy was macbeth. received with a massive amount ofjoy was macbeth. i think i really understood the drama of it all, and over the years, loans from that play have stayed with me, vaulting ambition that... often falls on the other, and of course lady macbeth uttering "out, damn spoffl macbeth uttering "out, damn spot". so i was very pleased when i heard that this year, york film festival was having at its opening—night film a fresh interpretation of macbeth called the tragedy of macbeth, starring denzel washington and frances mcdormand. the world premier of this new macbeth definitely created excitement. the film was shot in black and white in a los angeles soundstage. it all unfolds artfully within a hermetically sealed world, directorjoel coen working solo without his brother for the first time in his career, has certainly created a visionary and striking movie. but it is his actors who bring it to life, his wife frances mcdormand as lady macbeth and denzel washington as macbeth, two leads up the forefront of a large ensemble of well rehearsed american, british and irish actors. we rehearsed american, british and irish actom— rehearsed american, british and irish actors-— irish actors. we got a chance to rehearse _ irish actors. we got a chance to rehearse it _ irish actors. we got a chance to rehearse it like _ irish actors. we got a chance to rehearse it like a - irish actors. we got a chance to rehearse it like a play, - to rehearse it like a play, well, we actually started working, fran and i amjoel, what the outcome of reading and sitting down and rehearsing it, but then the company rehearsed it for about a month before we started shooting. $5 it for about a month before we started shooting.— started shooting. as the director _ started shooting. as the director of _ started shooting. as the director of the _ started shooting. as the director of the film - started shooting. as the i director of the film festival told me, audiences will find joel coen�*s macbeth faithful to shakespeare's original work. they will seattle but very much connects with and imbues closely to the language and the wording of the tragedy of macbeth, but it is refreshed in a certain way, refreshed with some of the people that are acting on screen, working behind the camera.- acting on screen, working behind the camera. with great reviews and — behind the camera. with great reviews and talk _ behind the camera. with great reviews and talk of _ behind the camera. with great reviews and talk of possible i reviews and talk of possible oscar nominations for its leads, it is seen as fine cinema. leads, it is seen as fine cinema-— leads, it is seen as fine cinema. t . , , ,, ., cinema. what is striking about this film is _ cinema. what is striking about this film is that _ cinema. what is striking about this film is that it _ cinema. what is striking about this film is that it really - this film is that it really turned shakespeare into something cinematic. it looks like a german expressionism film or some thing made by carl theodore dreyer, in the sense that you are looking at people's faces and that is really striking details up close, which is something that a lot of people with shakespeare and macbeth are afraid to do, often with soliloquies, with the monologues, you hear them in voice—over, and this really stays with the actors, it stays with the performances, and that is what drives the film.- is what drives the film. more than just seeing _ is what drives the film. more than just seeing macbeth, i is what drives the film. more i than just seeing macbeth, new thanjust seeing macbeth, new york's opening—night brought audiences thejoyous york's opening—night brought audiences the joyous experience of connecting after tough pandemic times. we of connecting after tough pandemic times.- of connecting after tough pandemic times. we are all ready to — pandemic times. we are all ready to be _ pandemic times. we are all ready to be here _ pandemic times. we are all ready to be here and i pandemic times. we are all ready to be here and we i pandemic times. we are all| ready to be here and we are ready to be here and we are ready to be in the theatre together and have a communal experience. we need this. new york needs this film festival and we need each other. it is quite emotional to be here together. quite emotionalto be here together-— quite emotionalto be here totether. u, , together. over the decades there have _ together. over the decades there have been _ together. over the decades there have been numerous| there have been numerous interpretations and adaptations of macbeth from different filmmakers, from kurosawa to polanski and many more. milla cattell has been looking back at some history to see how filmmakers have staged the so—called scottish play in the past. so-called scottish play in the hast. ., so-called scottish play in the ast, ., i' ., so-called scottish play in the hast. ., ~' ., ., past. you know your own degrees- — past. you know your own degrees. orson - past. you know your own degrees. orson welles . past. you know your own i degrees. orson welles directed and starred _ degrees. orson welles directed and starred in _ degrees. orson welles directed and starred in the _ degrees. orson welles directed and starred in the first - and starred in the first significant adaptation of macbeth in i9li8. significant adaptation of macbeth in has. a macabre interpretation, his film featured a grisly execution seen not found in the original play. his significant revisions to the text including the reordering of scenes and the cutting of dialogue angered critics, and the film was not considered a success.- considered a success. pale macbeth! _ considered a success. pale macbeth! hail— considered a success. pale macbeth! hail macbeth! i considered a success. pale i macbeth! hail macbeth! over the ears, macbeth! hail macbeth! over the years. others _ macbeth! hail macbeth! over the years, others have _ macbeth! hail macbeth! over the years, others have tried - macbeth! hail macbeth! over the years, others have tried their i years, others have tried their hand at it. roman polanski made a well—regarded version in 1971 that featured more on screen violence than previous iterations.— violence than previous iterations. ,, , violence than previous iterations. , ., iterations. makes me sick. you do everything. _ iterations. makes me sick. you do everything, they _ iterations. makes me sick. you do everything, they do - iterations. makes me sick. you | do everything, they do nothing. the american independent film benoit of the 19905 produced two gritty modern—day adaptations, men of respect, set in the world of organised crime, and scotland pa, set bizarrely but effectively at a fast food restaurant in the 19705. there is a reason filmmakers continue to be drawn to this character and the story. macbeth i5 to this character and the story. macbeth is one of shakespeare's more internal and philosophical plays, making it a naturalfit for the intimacy of cinema. a natural fit for the intimacy of cinema-— a natural fit for the intimacy of cinema. t . , ., , of cinema. we have this really intimate view _ of cinema. we have this really intimate view of _ of cinema. we have this really intimate view of a _ of cinema. we have this really intimate view of a man - of cinema. we have this really intimate view of a man who i of cinema. we have this really intimate view of a man who is | intimate view of a man who is not only having his nerve endings deadened a5 not only having his nerve endings deadened as he goes through his 5ort endings deadened as he goes through his sort of murderous course of the play, but he was explicitly conscious about what is happening. so he is like an observer of his own proce55 is happening. so he is like an observer of his own process of being dehumanised, and he reflects on that consciously at the end of the play. so that extraordinary, large 5tory arc, which is intimate and powerful and devastating, a5 which is intimate and powerful and devastating, as we see him reflecting on the what might have been of his life, is actually highly amenable material for cinematic treatment, but can get very close to that.— close to that. just a stones throw from _ close to that. just a stones throw from where - close to that. just a stones throw from where joel i close to that. just a stones i throw from where joel coen's new macbeth recently permeated the delacorte theatre in central park, which more than 60 years has provided free shakespeare performances for audiences, it while shakespeare is widely considered the pre—eminent master of the english language, macbeth has actually inspired its of international adaptations. it is a special challenge to translate shakespeare's for translate sha kespeare's for this translate shakespeare's for this dialogue into a new spoken language and a cinematic language and a cinematic language at once. in 2003, macbool, and adaptations set in by�*s criminal underworld, played to appreciative audiences at both the cannes film festival and the toronto film festival and the toronto film festival. of course, the best regarded adaptation of macbeth may be accurate kurosawa's throne of blood, which merges shakespeare's vision with japanese culture to stunning effect. some feel that an adaptation that is forced to admit shakespeare's inimitable dialogue actually makes it more palatable for general movie audiences.— palatable for general movie audiences. . ., ., _ audiences. language obviously to some extent _ audiences. language obviously to some extent as _ audiences. language obviously to some extent as an - audiences. language obviously to some extent as an obstacle| to some extent as an obstacle to some extent as an obstacle to modern audiences, and instead, you get, you know, a film vocabulary that makes a lot of sense, and chris sully is of course a very controlling director and some of the things he does in the movie, just with framing, the angles of the shots and juxtaposition of characters and the sort of triangles that he sets up, they almost always, if you pay attention to them, have a real meaning that they conveyed, which is only reaching the audience subliminally. since joel audience subliminally. since joel coen's _ audience subliminally. since joel coen's the _ audience subliminally. since joel coen's the tragedy i audience subliminally. since joel coen's the tragedy of l joel coen's the tragedy of macbeth has onlyjust premiered amongst the hurly—burly of the new york film festival, it is not yet known if it will be received as the definitive english—language version that cinema has thus far lark, although some scholars think we are better off without one. with stories like the best that we have, but belong to all of us, it is wonderful seeing how each generation will engage with it with a fresh take but also one that hears and echoes and filters and, you know, sort of newly reads all those echoes from the ghostly past of interpretations as well. mi; interpretations as well. my name is macbeth! it i interpretations as well. my name is macbeth! it was i interpretations as well. my i name is macbeth! it was orson welles who _ name is macbeth! it was orson welles who famously, - name is macbeth! it was orson | welles who famously, although perhaps a bit obviously, stated that shakespeare would have been a great movie writer. over a century of macbeth adaptations have proven him correct, and with any good fortune, we will get a century more. ., , fortune, we will get a century more. . , _, ., fortune, we will get a century more. . , ., ., more. the waves confound and swallow navigation _ more. the waves confound and swallow navigation up! - more. the waves confound and swallow navigation up! the i swallow navigation up! the french movie _ swallow navigation up! the french movie titane i swallow navigation up! iie: french movie titane made a swallow navigation up! ii2 french movie titane made a big impact when it was shown at the cannes film festival earlier this year. it brought its director, julia ducournau, the top prize out of the palme d'or. the film was also shown it to new york film festival but this body horror thriller will not be to everybody�*s taste. the film follows alexia, who as a young girl has a titanium plate inserted into her head in the wake of a car crash. t, her head in the wake of a car crash. ., , u, crash. so through this car crash, alexa _ crash. so through this car crash, alexa comes i crash. so through this car crash, alexa comes out i crash. so through this car| crash, alexa comes out of crash. so through this car. crash, alexa comes out of a piece of metal in her head that is for me also a way to establish a link between her and the car, because in this car crash, you see, you have three people. you have the father, the daughter, alexia, and the car. since she is never going to get the attention and love from her father, going to get the attention and love from herfather, she thinks that she is going to get it from the third person, who lived the same initial trauma, meaning, the car.— meaning, the car. alexia's relationship _ meaning, the car. alexia's relationship with - meaning, the car. alexia's relationship with cars i meaning, the car. alexia's relationship with cars is i relationship with cars is explored. in one scene, she rather shockingly gets impregnated by a car. it makes the mind of all. for the actress, it was an unusual seem to shoot. ., ~' ., actress, it was an unusual seem to shoot. ., ,, ., , ., to shoot. you know, i 'ust told m self, to shoot. you know, i 'ust told mysetf. just * to shoot. you know, i 'ust told myself, just pretend i to shoot. you know, ijust told myself, just pretend you i to shoot. you know, ijust told myself, just pretend you are i myself, just pretend you are doing a little show. this is a weird show, butjust have fun with it, because, you know, you just have to do it anyway, so just have to do it anyway, so just have to do it anyway, so just have fun with it. so i tried to have financed was actually pretty fun. # but it's too late to say von're _ # but it's too late to say you're sorry... it # but it's too late to say you're sorry. . ._ you're sorry... it is a provocative - you're sorry... it is a provocative film. it | you're sorry... it is a i provocative film. it has several themes, among them gender identity in humans' relations with machines, but for its director, it is a movie which explores love. it for its director, it is a movie which explores love.- for its director, it is a movie which explores love. it was a hute which explores love. it was a huge challenge _ which explores love. it was a huge challenge for— which explores love. it was a huge challenge for me. i i which explores love. it was a l huge challenge for me. i think it is very hard for me to talk about love, and it is very hard to talk about love in this way, becoming like what love could becoming like what love could be and what we should aspire to. that is, unconditional, for me. ~ , to. that is, unconditional, for me. g . . me. my character in the beginning _ me. my character in the beginning of— me. my character in the beginning of the - me. my character in the beginning of the movie | me. my character in the i beginning of the movie has me. my character in the - beginning of the movie has not been _ beginning of the movie has not been loved before, doesn't know how to _ been loved before, doesn't know how to love, and she is going to meet— how to love, and she is going to meet this character, dishonour character, who doesn't _ dishonour character, who doesn't think he is able to live — doesn't think he is able to live anymore, and together they are going — live anymore, and together they are going to find their humanity and they are going to find this— humanity and they are going to find this sort of intimacy. titane _ find this sort of intimacy. titane is— find this sort of intimacy. titane is violent and has strong sexual content. the director doesn't mind if people object. director doesn't mind if people ob'ect. ., , .. ._ object. people react the way they react. _ object. people react the way they react, and _ object. people react the way they react, and this - object. people react the way they react, and this is i they react, and this is something that you can't... actually, you can, but i don't want to dictate any form of reaction, orany want to dictate any form of reaction, or any form of understanding of my film. this is certainly a thing that doesn't take you by the hand. for me, as long as a reaction is presented means the mission is presented means the mission is accomplished, right? whether ou like is accomplished, right? whether you like her— is accomplished, right? whether you like her work _ is accomplished, right? whether you like her work or _ is accomplished, right? whether you like her work or not, - is accomplished, right? whether you like her work or not, julia i you like her work or not, julia ducournau is breaking ground, shaking things up. she has become a strong, new, acclaimed voice in transgressive cinema. one documentary has been winning a big following a film festivals across north america, and it has gained many converts here at the new york film festival. it is called flea, and it chronicles the struggles of an afghan refugee trying to flee from the taliban in kabul 25 years ago. we caught up with the filmmaker at the telluride film festival. this unusual portrait of an afghan refugee who fled kabul in 1996 relies on animation, p0p in 1996 relies on animation, pop music and archival footage. the main character, i mean, is a real person. amin is a pseudonym to protect his identity. flee's copenhagen based director has known amin personally as a close friend for a long personally as a close friend fora longtime. it personally as a close friend for a long time.— personally as a close friend for a long time. it is a mess ritht for a long time. it is a mess right now — for a long time. it is a mess right now in _ for a long time. it is a mess right now in afghanistan. i i right now in afghanistan. i think it is important to get some perspective on it, and his story happened many years ago, 25 years ago, it would this story we can kind of see what it does to a human being to be on the run, to flee, and how you can move on. so i definitely think that my film can give some perspective on what is going on right now. amin'sjourney from what is going on right now. amin's journey from afghanistan to denmark via moscow is told and sometimes harrowing detail. it is upsetting but moving and inspiring. the director was keen to use animation. because it is really _ keen to use animation. because it is really a _ keen to use animation. because it is really a story _ keen to use animation. because it is really a story about - it is really a story about trauma and memories, with animation we can make more expressive, make it more true to the emotion and being realistic. flee also has a gay theme. closeted in afghanistan, it was an issue he has had to struggle with. ., , ., , an issue he has had to struggle with. , ., , ,, ., an issue he has had to struggle with. , ., ., ., with. the gay stories kind of a mirror on _ with. the gay stories kind of a mirror on his _ with. the gay stories kind of a mirror on his refugee - with. the gay stories kind of a mirror on his refugee story, i mirror on his refugee story, because in his his family had to flee for his sexuality. in a way he has always been on the run. in his youth it was from his sexuality and afterwards it was from the story he couldn't tell. so i think those two stories really go hand—in—hand. the documentary�*s positive reception in new york was almost guaranteed, because many critics in the city had already seen flee earlier on the festival circuit and really loved it. one new york film festival movie has haunted me from the moment i first saw it, the power of the dog. it is a western of sorts in which its filmmaker, new zealanderjane campion, shows full mastery of her craft, as does the movie's leading man, benedict cumberbatch. i see it as a study of power in relationships and repressed lives. emma jones reports. this dog bites. made byjane campion in new zealand, the landscape doubling for montana of a century ago, the power of the dog is an adaptation of thomas savage 19605 novel. it is the story of phil, portrayed by benedict cumberbatch. he is a deeply unhappy rancher who bullies his new sister—in—law, rose. cumberbatch says his director allowed him to inhabit the character for the duration of filming. character for the duration of filmint. character for the duration of filmint . ., character for the duration of filmint . . , filming. right at the beginning she said look, _ filming. right at the beginning she said look, this _ filming. right at the beginning she said look, this is _ filming. right at the beginning she said look, this is a - filming. right at the beginning she said look, this is a film. i she said look, this is a film. you are going to meet benedict at the end of the shoot and he is really nice, but this is film. it gave me full permission to do that without feeling self—conscious —— phil. because it is a way to go, it is far away from me. it was quite a transition.— quite a transition. kirsten dunst, who _ quite a transition. kirsten dunst, who campion i quite a transition. kirsten i dunst, who campion admired quite a transition. kirsten - dunst, who campion admired for her performance in last montreal's melancholia, plays rose. she says the actors stayed far apart during filming. stayed far apart during filming-— stayed far apart during filmint. ,, , ., filming. seems that we were in, we were pretty _ filming. seems that we were in, we were pretty distant - filming. seems that we were in, we were pretty distant from i we were pretty distant from each other. i had to create my own team and of the field, and benedict and i didn't talk to each other during filming either. if we went out to dinner on the weekend with our kids, or hung out, we obviously talk to each other, but onset we kept our distance. campion when the original— we kept our distance. campion when the original screenplay i when the original screenplay oscar in 1994 for the piano, starring holly hunter and anna paquin. she also directed the tv series top of the lake, starring elizabeth moss. her protagonists have been female. cumberbatch's leading role as phil is new to her, but this portrayal of masculinity and misogyny is resonating with critics. as well as the film appearing at toronto, telluride and now new york film festivals, campion was awarded best director at the venice film festival. the film is backed by netflix. campion is the latest motor they have collaborated with, as the streaming service searches for that elusive best director oscar —— auteur. do you think you can work with someone like jane campion, who is a great auteur, and the film can still get a great emotional push? i think it is the perfect synchronicity, to think that someone who has that aesthetic and taste, who is a festival queen and favourite, to think that herfilm might queen and favourite, to think that her film might get an even bigger audience— that is a win—win. bigger audience- that is a win-win— bigger audience- that is a win-win. �* . , . win-win. benedict cumberbatch mi t ht win-win. benedict cumberbatch mitht be win-win. benedict cumberbatch might be the — win-win. benedict cumberbatch might be the actor _ win-win. benedict cumberbatch might be the actor of _ win-win. benedict cumberbatch might be the actor of the i might be the actor of the moment. he also has a role in taika waititi's new film, about the life of an artist who makes a real paintings. i the life of an artist who makes a real paintings.— a real paintings. i 'ust don't want to think i a real paintings. i 'ust don't want to think you i a real paintings. ijust don't want to think you have i a real paintings. ijust don't want to think you have to i a real paintings. ijust don't| want to think you have to be cooped up in this house. but the brooding _ cooped up in this house. but the brooding intensity of his performance in the power of the dog may prove far stronger than its feline rival. one great influential new york city rock band formed in the 19605, the velvet underground, was the subject of a new york film festival documentary this year. the band came in a storied era in new york pop culture history. at one time artist andy warhol was the manager and the band had lou reed as its charismatic lead singer. this band, charismatic lead singer. this band. it's — charismatic lead singer. this band, it's called _ charismatic lead singer. this band, it's called the - charismatic lead singer. ii 3 band, it's called the velvet underground. at, band, it's called the velvet underground.— band, it's called the velvet underground. a rock 'n' roll band like — underground. a rock 'n' roll band like no _ underground. a rock 'n' roll band like no other. - underground. a rock 'n' roll band like no other. todd i band like no other. todd hands's new documentary on the velvet underground explores the unique set of circumstances that brought together four outsiders to create a distantly different sound —— todd haynes. steeped in the heady mix of avant garde art and filmmaking of 19605 new york city. it avant garde art and filmmaking of 1960s new york city.- of 1960s new york city. it goes so dee ., of 1960s new york city. it goes so deep- they _ of 1960s new york city. it goes so deep- they go _ of 1960s new york city. it goes so deep. they go so _ of 1960s new york city. it goes so deep. they go so deep i of 1960s new york city. it goes| so deep. they go so deep within the 19605 itself, and they were so ahead of their time thematically and sonically that no—one knew what to do with them, even at a time of incredible invention and desire for radical change. and it still took decades for people to catch up to what they are doing. so you learn so much about not only the 19605, but why did that happen? that about not only the 1960s, but why did that happen?- why did that happen? at the centre of— why did that happen? at the centre of it _ why did that happen? at the centre of it was _ why did that happen? at the centre of it was the - why did that happen? at the centre of it was the famous | why did that happen? at the i centre of it was the famous new york city artist and film director andy warhol, who discovered the band and became their manager. he incorporated them into his art studio, called the factory, where artists, models and other cool kids known as warhol's superstars, hung out. people came because _ superstars, hung out. people came because the _ superstars, hung out. people came because the cameras i superstars, hung out. people i came because the cameras were running. they thought they could become famous. todd ha nes could become famous. todd haynes recreates _ could become famous. todd haynes recreates the i haynes recreates the unconventional nature of velvet underground's music and how it combined with art in his film. he juxtaposes combined with art in his film. hejuxtaposes light with he juxtaposes light with sounds, uses split screens and takes viewers on an immersive journey through space and time. velvet underground's music was dark and edgy and full of life, so it makes perfect sense that the band was created here. in fact, in this apartment is where members of velvet underground perfected what would become some of their signature sounds. lou reed brought in themes from his own life, with lyrics that never shied away from topics like drug abuse, sexuality and depression. he was immensely talented and deeply emotional, but reed could also be a difficult person to be close to. todd haynes's film explores this contradiction through those that knew him best. he was those that knew him best. h2 was complicated, man. he was full of all kinds of protective barriers. somebody who felt insecurity, and he is sharing it with us in the most direct way possible, which is in his work. �* , ., ~' way possible, which is in his work. �*, ., ,, ., ., way possible, which is in his work. �* , ., ,, ., ., ., work. reed's work and that of his band endures. _ work. reed's work and that of his band endures. speaking i work. reed's work and that of| his band endures. speaking to people who don't quite fit in and prefer to embrace life with its rough edges intact. emerging from a pandemic in which we all felt disconnected and offkilter. haynes believes the velvet underground also resonates for a new reason. for us, it resonates for a new reason. for us. it was — resonates for a new reason. for us. it was the — resonates for a new reason. it?" us, it was the movie we had been making underground during lockdown in this pandemic. but it was a movie about an incredibly vital time in creative life, in the history of film, and in music. and that music field that room, and i think it did something to the audience beyond what the film itself is doing. because of the conditions that we have all lived through.— lived through. well, that brin t s lived through. well, that brings this _ lived through. well, that brings this special i lived through. well, that brings this special new i lived through. well, that i brings this special new york film festival edition of talking movies to a close. we hope you have enjoyed the programme. please remember you can always reach us online and you can find us on facebook and twitter. so, while new york city continues to host the new york film festival, the rest of the world is beginning to savour the new james bond the world is beginning to savour the newjames bond film, so we're going to you with the official theme song from the new movie. # fool me once, fool me twice # are you death or paradise? # now you'll never see me cry. there's just no time to die... more rain and wind on the way. it is autumn, after all, but for some of us saturday may end up being a bit of a write—off. and in fact, over the next few days the weather will remain very unsettled — spells of heavy rain, gates at times and even the possibility of some travel disruption. and the atlantic is looking a lot more vigorous in its weather patterns in the last few days. we're seeing low pressures forming, propelled by a powerful jet stream. and you can see a low pressure anchored just to the north—west of the uk, another one to the south forming, and that's the one that's going to bring the particularly wet spell of weather on saturday. so, through the early hours, we're already expecting some rain across western areas of the uk. but ahead of that there is plenty of clear, dry weather, so eastern and central areas may actually wake up to some sunshine. that sunshine may even last until mid—morning or perhaps early afternoon in the extreme east, but very quickly those clouds will increase, and we've got some particularly wet weather there for the south and the south—east and some strong winds too. further north—west in the afternoon, it's going to be more of a mixed bag, so for belfast and glasgow i think some sunny spells certainly in the forecast. so here's saturday night. that low pressure and its extensive rain front moves out of the way, and then the weather opens up a little bitjust in time for the marathons on sunday. so for the london marathon, expect some sunshine, the marathon in belfast as well. nowhere will be completely dry. in fact showers are expected on sunday, with a keen westerly breeze, but at least we're not going to have that really prolonged rain. now, the temperatures both on saturday and sunday will be around the mid—teens — not that it'll feel like it because of the strength of the wind and also the prolonged rain. and then, on monday, the next area of low pressure heads our way. so early on monday there could be some sunshine around, but certainly by monday afternoon and evening we'll start to see the next area of wet weather approaching south—western parts of the uk. so a very unsettled spell of weather over the next few days — quite typical for october, really. here's the summary. you can see a lot of rain shower icons there, temperatures mostly in the mid—teens. there's just a hint that, sometime later next week, things will settle down at least for a bit. bye— bye. welcome to bbc news. i'm richard preston. our top stories. richard preston. our top stories-— richard preston. our top stories. , , ., ., stories. optimism from health exerts stories. optimism from health exoerts as _ stories. optimism from health exoerts as a — stories. optimism from health experts as a pill— stories. optimism from health experts as a pill developed i stories. optimism from health experts as a pill developed to | experts as a pill developed to treat severe coronavirus reports positive trial results that could halve the chances of dying. after the murder of sarah everard by a serving officer, london's metropolitan police tries to regain the public�*s trust. two new streams of lava pose a further threat of lava pose a further threat of destruction as the la palma volcano forces thousands more to flee. ., ,., , volcano forces thousands more toflee. , ,, ., , ., . to flee. nobody knows how much more love _ to flee. nobody knows how much more love is _ to flee. nobody knows how much more love is going _ to flee. nobody knows how much more love is going to _ to flee. nobody knows how much more love is going to flow - to flee. nobody knows how much more love is going to flow into i more love is going to flow into the sea. there is no sign of descending anytime soon. europe is 's first mission _ descending anytime soon. europe is 's first mission to _ descending anytime soon. europe is 's first mission to mercury i is '5 first mission to mercury is '5 first mission to mercury is making a flight i approach on the night side of the planet. that flyby approach.

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