mph around the coast. they will ease this evening, a lot of that rain will get swept away and up to was shetland where we will find the wind is picking up by the end of the night, gusts of 60 or 70 mph. clearer skies coming in hence the view of the stars and planets but towards the west, there are showers around, a cool start as we head into sunday. forthe around, a cool start as we head into sunday. for the runners, around, a cool start as we head into sunday. forthe runners, pretty around, a cool start as we head into sunday. for the runners, pretty good weather. hopefully the showers world hold off, it will be breezy but temperatures will peak at 16 degrees. we start sunday with most of the show is for the western side of the show is for the western side of the show is for the western side of the uk, some heavy and thundery. those will be blown eastwards but will take some time to arrive across east anglia and the south—east. 0r persistent rain in the far north of scotland. temperatures should be higher than today, 16 or 17 degrees. as we head into the beginning of next week we see low pressure taking that wet and windy weather away. shower starting on monday but than another area of low pressure comes in strengthening the winds on tuesday. but for monday it is more like the sort of weather we get tomorrow, sunshine and if you showers, but the wet and windy weather set to arrive on tuesday will affect england and wales and the south west of england could see gail is possibly even some severe gales as well. one to watch as we head into tuesday. hello, this is bbc news. the headlines: after days of queuing at the pumps, the army will begin delivering fuel to petrol stations across the uk from monday. the home secretary says police must "raise the bar" by taking the harassment of women more seriously. a view echoed by the health secretary, sajid javid. the reforms are right, we need to be looking at what government can do to help build that confidence. the queen officially opens the sixth session of the scottish parliament at holyrood. provisional clinical trial results suggest an experimental drug for severe covid cuts the risk of hospitalisation or death by about half. and two new streams of lava pose a further threat of destruction as the la palma volcano forces thousands more to flee. now on bbc news, we are talking movies. hello from new york, and welcome to talking movies. i'm tom brooks. 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, a new adaptation of macbeth starring frances mcdormand and denzel washington. we hope that people enjoy it and respond to it and we'll see what happens. macbeth, the so—called scottish play, has been adopted into more than 25 different movies. we look at those that made an impact. a shocking body horror thriller, titane, this year's big winner at the cannes film festival, came to new york with its director and star. i told myself, pretend you're doing a little show. this is a weird show, butjust have fun with it. there were many festival films with great performances, a real stand—out, benedict cumberbatch in the power of the dog. and some great documentaries, one using animation to chronicle the plight of an afghan refugee 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 shakespeare thrown at me. but i have to admit, the only play of his that i received with a massive amount ofjoy was macbeth. i think i really understood the drama of it all, and over the years, lines from that play have stayed with me, "vaulting ambition that o'erleaps itself and falls on the other," and of course lady macbeth uttering "out, damn spot." so i was very pleased when i heard that this year the new york film festival was having as its opening night film a fresh interpretation of macbeth called the tragedy of macbeth, starring denzel washington and frances mcdormand. the world premiere of this new macbeth definitely created excitement. the film was shot in black and white on 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 visually striking movie. but it's his actors who bring it to life, his wife frances mcdormand as lady macbeth and denzel washington as macbeth, two leads at the forefront of a large ensemble of well—rehearsed american, british and irish actors. we got a chance to rehearse it like a play, well, we actually started working, fran and i and joel, i don't know, a year out, we started reading and sitting down and rehearsing it, but then the company rehearsed for about a month before we started shooting. as the director of the new york film festival told me, audiences will find joel coen�*s macbeth faithful to sha kespeare�*s original work. they'll see a film that very much connects with and hews closely to the language and the wording of the tragedy of macbeth, but it's refreshed in a certain way, refreshed with some of the people that are acting on screen, working behind the camera. this new macbeth won some great reviews and talk of possible 0scar nominations for its leads, it was really seen as quite fine cinema. what's striking about this film is that it really turns shakespeare into something cinematic. it looks like a german expressionism film or something made by carl theodore dreyer, in the sense that you're looking at people's faces in this really striking detail up close, which is something that a lot of filmmakers, with shakespeare in general and with 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's what drives the movie. more than just seeing macbeth, the new york film festival's opening night brought audiences thejoyous experience of connecting after tough pandemic times. we're all ready to be here and we're 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's quite emotional to be here together. over the decades there have been numerous interpretations and adaptations of macbeth from different filmmakers, from kurosawa to polanski and many more. noah gittell has been looking back at cinema history to see how filmmakers have staged the so—called scottish play in the past. you know your own degrees. orson welles directed and starred in the first significant adaptation of macbeth in 19118. a macabre interpretation, welles�* film featured a grisly execution scene 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. hail macbeth! over the 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. it makes me sick how they use you. you do everything, they do nothing. the american independent film boom 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's a reason filmmakers continue to be drawn to this character and this story. macbeth is one of shakespeare's more internal and philosophical plays, making it a naturalfit for the intimacy of cinema. we have this really intimate view of a man who is not only having his nerve endings deadened as he goes through his sort of murderous course of the play, but who is explicitly conscious about what is happening. so he's 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 story arc, 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, that can get very close to that. just a stone's throw from where joel coen�*s new macbeth recently premiered is the delacorte theatre in central park, which for more than 60 years has provided free shakespeare performances for audiences. and while shakespeare is widely considered the pre—eminent master of the english language, macbeth has actually inspired its share of international adaptations. it's a special challenge to translate shakespeare's flawless dialogue into a new spoken language and a cinematic language at once. in 2003, maqbool, an adaptations set in mumbai's criminal underworld, played to appreciative audiences at both the cannes film festival and the toronto film festival. of course, the best—regarded adaptation of macbeth may be akira 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 omit shakespeare's inimitable dialogue actually makes it more palatable for general movie audiences. language obviously to some extent is an obstacle to modern audiences. and instead you get, you know, a film vocabulary that makes a lot of sense, and kurosawa 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, juxtapositions 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 convey, even if it's only reaching the audience subliminally. sincejoel coen�*s the tragedy of macbeth has onlyjust premiered amidst the hurly—burly of the new york film festival, it's not yet known if it will be received as the definitive english—language version that cinema has thus far lacked — although some scholars think we're better off without one. with these stories that we have like macbeth, that belong to all of us, it's wonderful seeing how each generation will engage with it 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. my name's 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'll get a century more. though the yeasty waves confound and swallow navigation up! though bladed corn be lodged... the 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, that of the palme d'0r. the film was also shown at the new york film festival — but this body horror thriller won't 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. so through this car crash, alexia 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 had three people. you had the father, the daughter — alexia — and the car. since she's never going to get the attention and love from her own father, she thinks she's going to get it from that third person who lived the same initial trauma, meaning, the car. alexia's relationship with cars is explored. in one scene, she rather shockingly gets impregnated by a car. it makes the mind boggle. for the actress it was an unusual scene to shoot. you know, ijust told myself, just pretend you're doing a little show. this is a weird show, butjust have fun with it, because, you know, like, you just have to do it anyway, so just have fun with it. so i tried to have fun and it was actually really fun. # but it's too late to say you're sorry... it is a provocative film. it has several themes, among them gender identity and humans�* relations with machines, but for its director, it's a movie which explores love. it was a huge challenge for me. i think it's very hard for me to talk about love, and it's very hard to talk about love in this way, in this becoming, like, what love could be and what we should aspire to. that is, unconditional, for me. my character in the beginning of the movie has not been loved before, doesn't know how to love, and she's going to meet this character, this other character, who doesn't think he's able to love anymore. and together they're going to find their humanity and they're going to find this sort of intimacy. titane is violent and has strong sexual content. the director doesn't mind if people object. people react the way they react, and this is something you can't... actually, you can, but i don't want to dictate any form of reaction, or any form of understanding of my film. this is certainly a film that doesn't take you by the hand. i mean, for me, as long as a reaction is present, it means the mission is accomplished, right? whether 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. 0ne documentary has been winning a big following at film festivals across north america, and it's gained many converts here at the new york film festival. it's called flee, 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, pop music and archivalfootage. the main character, amin, 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 time. it's a mess right now in afghanistan. i think it's important to kind of get some perspective on it, and amin�*s story happened many years ago, 25 years ago. and with this story we can kind of see what it does to a human being to be on the run, to flee, and how he can move on. so i definitely think that my film can give some perspective on what's going on right now. amin�*s journey from afghanistan to denmark via moscow is told in sometimes harrowing detail. it is upsetting but moving and inspiring. the director was keen to use animation. because it's really a story about trauma and memories, with animation it allows us to be more expressive, we can show things in a way that feels more true to the emotion than being realistic. flea also has a gay theme. it was an issue he had to struggle with. it is a key part of the film. the issue he had to struggle with. it is a key part of the film.— a key part of the film. the gate sto is a key part of the film. the gate story is a _ a key part of the film. the gate story is a mirror— a key part of the film. the gate story is a mirror on _ a key part of the film. the gate story is a mirror on his - a key part of the film. the gate story is a mirror on his refugee | story is a mirror on his refugee story is a mirror on his refugee story because in his youth and from his family, he had to flee his sexuality, so in a way, he has always been on the run. in his youth it was from his sexuality, and afterwards it was from his past, from his story. so i think those two stories work hand in hand. the documentary _ stories work hand in hand. the documentary 's _ stories work hand in hand. the documentary 's positive reception in documentary �*s positive reception in new york is almost guaranteed because many critics in the city had already seen fleet early on the festival circuit and loved it. one new york film festival movie has haunted me from the moment i first saw it. the power of the dog. it's a western of sorts in which its film—maker, jane campion, shows full mastery of her craft, as does the leading man, benedict cumberbatch. i see it as a study of power in relationships and repressed lives. this dog bites. made byjane campion in new zealand, the landscape dabbling for montana of a century ago, the power of the dog is an adaptation of a thomas savage 19605 adaptation of a thoma5 savage 19605 novel. it is a story of phil, portrayed by benedict cumberbatch. he is a deeply unhappy rancher, who bullies his new sister—in—law, rose. benedict bullies his new sister—in—law, ro5e. benedict cumberbatch says his director allowed him to inhabit the character for the duration of filming. fist character for the duration of filminu. �* , , filming. at the beginning she said, this is film- — filming. at the beginning she said, this is film. you _ filming. at the beginning she said, this is film. you are _ filming. at the beginning she said, this is film. you are going - filming. at the beginning she said, this is film. you are going to - this is film. you are going to meet benedict at the end of the sheet and he is really nice. it gave me feeling5 he is really nice. it gave me feelings of self—consciousness. it is a way to go. it is far away from here, it is quite a transition. kirsten dunst, who jane campion had previously admired, play5 ro5e. she says the actor stayed far apart during filming. the says the actor stayed far apart during filming.— says the actor stayed far apart durin: filminu. ,. , during filming. the scenes we were in, we during filming. the scenes we were in. we were — during filming. the scenes we were in. we were pretty _ during filming. the scenes we were in, we were pretty distant - during filming. the scenes we were in, we were pretty distant from - during filming. the scenes we were l in, we were pretty distant from each other~ _ in, we were pretty distant from each other~ i_ in, we were pretty distant from each other~ i had — in, we were pretty distant from each other. i had to create my own daemon, _ other. i had to create my own daemon, and benedict and i did not talk to— daemon, and benedict and i did not talk to each— daemon, and benedict and i did not talk to each other during filming either~ _ talk to each other during filming either~ if— talk to each other during filming either. if we went out to dinner on the weekend with our kids, or something, orwe hang out, obviously we talk— something, orwe hang out, obviously we taikto— something, orwe hang out, obviously we talk to each other, but on set we kept our— we talk to each other, but on set we kept our distance.— kept our distance. campion won the oriainal kept our distance. campion won the original screenplay _ kept our distance. campion won the original screenplay oscar _ kept our distance. campion won the original screenplay oscar in - kept our distance. campion won the original screenplay oscar in 1994 i original screenplay 05car in 1994 for the piano starring holly hunter. she also directed the tv series, top of the lake, starring elizabeth moss. her protagonist are female normally, so benedict cumberbatch i5 normally, so benedict cumberbatch is new ground for her. this tale is resonating with critic5, new ground for her. this tale is resonating with critics, as well as the film appearing at toronto and now new york film festivals, jane campion wa5 now new york film festivals, jane campion was awarded the best director prize at the venice film festival. the film is backed by netflix. campion i5 festival. the film is backed by netflix. campion is the latest auto they have collaborated with as the streamer 5till they have collaborated with as the streamer still searches for that elusive best picture 05car. do you feel you can work with somebody like jane campion, who is a great altar, and the film you are doing can still get a huge promotional push is to mark it's a perfect synchronicity to think that someone who has that aesthetic and taste, who is a festival queen and favourite, to think that her film might get an even bigger audience, that is win—win. benedict cumberbatch may be the actor of the moment. he also has an anticipated role in a portrait of an english artist who makes a real cat paintings. j english artist who makes a real cat aintinus. ., �* ., i. english artist who makes a real cat aintinus. ., �* ., ., ~' paintings. i don't want you to think ou have paintings. i don't want you to think you have to — paintings. i don't want you to think you have to be _ paintings. i don't want you to think you have to be cooped _ paintings. i don't want you to think you have to be cooped up - paintings. i don't want you to think you have to be cooped up in - paintings. i don't want you to think you have to be cooped up in this i you have to be cooped up in this house. , , , ., , house. the brooding intensity of his performance _ house. the brooding intensity of his performance in _ house. the brooding intensity of his performance in the _ house. the brooding intensity of his performance in the power— house. the brooding intensity of his performance in the power of - house. the brooding intensity of his performance in the power of the - house. the brooding intensity of his| performance in the power of the dog may prove far stronger than its feline rival. 0ne feline rival. one great influential new york city rock bound formed in the 19605, the velvet, great underground was the subject of a new york film festival documentary this year. the band came from an area in new york city pop culture era. at one time, andy warhol was its manager and the band had lou reed as its charismatic singer. had lou reed as its charismatic sinner. ~ ., had lou reed as its charismatic sincer.~ . , had lou reed as its charismatic siner.. ., ., singer. we are sponsoring a new band, it is _ singer. we are sponsoring a new band, it is called _ singer. we are sponsoring a new band, it is called the _ singer. we are sponsoring a new band, it is called the velvet - band, it is called the velvet underground. a rock and roll band like no other. the new documentary on velvet underground is a unique set of circumstances that brought together for outsiders to create a distinctly different sound steeped in the heady mix of avant—garde art and film—making of 19605 new york city. they go so deep within the 19605 itself, _ they go so deep within the 19605 itself, and they were so out of their— itself, and they were so out of their time _ itself, and they were so out of their time sonically, but no one knew_ their time sonically, but no one knew what— their time sonically, but no one knew what to do with them, even at a time of— knew what to do with them, even at a time of incredible invention and desire _ time of incredible invention and desire for— time of incredible invention and desire for radical change, it still t00k— desire for radical change, it still took decades for people to catch up took decades for people to catch up to what— took decades for people to catch up to what they were doing. so you learn _ to what they were doing. so you learn so — to what they were doing. so you learn so much about not only the i960s. _ learn so much about not only the 19605, but, you know, why did that happen? _ 19605, but, you know, why did that happen? ht— 1960s, but, you know, why did that ha en? �* 1960s, but, you know, why did that ha--en? �* . . 1960s, but, you know, why did that ha en? �* . ., ., , happen? at the centre of it was famous director _ happen? at the centre of it was famous director and _ happen? at the centre of it was famous director and artist - happen? at the centre of it was famous director and artist andy j famous director and artist andy warhol, who became the band '5 manager. he incorporated them into his art studio called the factory where artists, models, and other cool kids known as andy warhol �*s superstars hang out. cool kids known as andy warhol 's superstars hang out.— cool kids known as andy warhol 's superstars hang out. people came because the _ superstars hang out. people came because the cameras _ superstars hang out. people came because the cameras were - superstars hang out. people camel because the cameras were running. they thought they could become famous — they thought they could become famous. todd haynes recreates the unconventional nature of velvet underground 's music and how combined _ underground 's music and how combined with art in his film, he juxtaposes— combined with art in his film, he juxtaposes light with sounds, uses split screens, and takes viewers on an immersive journey through space and time _ an immersive “ourney through space and time. ., �* , and time. velvet underground 's music was _ and time. velvet underground 's music was dark, _ and time. velvet underground 's music was dark, edgy _ and time. velvet underground 's music was dark, edgy and - and time. velvet underground 's music was dark, edgy and full i and time. velvet underground 's music was dark, edgy and full ofj music was dark, edgy and full of life, so it makes perfect sense that the band was created here. in fact, this apartment on 56th st is where members of velvet underground perfected and would become some of their signature sound. lou reed brought in things from his own life with lyrics had never shied away from topics like drug abuse, sexuality and depression. he was immensely talented and deeply emotional, but lou reed could also be a difficult person to be close to. todd haynes was microfilm explores the contradiction for those who knew him best. he explores the contradiction for those who knew him best.— who knew him best. he was complicated _ who knew him best. he was complicated and _ who knew him best. he was complicated and he - who knew him best. he was complicated and he was - who knew him best. he was complicated and he was fullj who knew him best. he was i complicated and he was full of who knew him best. he was - complicated and 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, through his work. ., �* , ., ~' direct way possible, through his work. ., �* , ., ~ ., direct way possible, through his work. ., �* , ., ~ . ., direct way possible, through his work. ., �*, ., ~ ., ., ., work. lou reed 's work and that of his band endures. _ work. lou reed 's work and that of his band endures. speaking - work. lou reed 's work and that of his band endures. speaking to - work. lou 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 off—kilter, todd haynes believes velvet underground also resonate for a new reason. for velvet underground also resonate for a new reason-— a new reason. for us it was a movie we had been _ a new reason. for us it was a movie we had been making _ a new reason. for us it was a movie we had been making underground l a new reason. for us it was a movie i we had been making underground and during lockdown in this pandemic, and it was a movie about an incredibly vital time in creative life in the history of film, and in music. and that music filled that room, and i think it did something to the audience beyond what the film itself is doing, you know? because of the conditions we all have lived through. well, that brings this special new york film festival addition of talking movies to a close. we hope you have enjoyed the programme. you can always reach us online. you can also 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 film, so we are going to leave you with the official theme song from the new movie. full me once, full me twice. there's just no time to die. noa no a cold day across many parts of the country, we first saw the rain spilling and across many areas and it has been pretty windy recently in some southeastern parts of the uk. things got better tomorrow and temperatures will be higher with some sunshine, but still some blustery showers. that air stream, you can see it on the satellite picture, will come into western areas overnight once this cloud moves away, and it is that cloud that has been bringing the rain. this is the radar picture over the past few hours. in northern ireland we are still seeing a mixture of sunshine and showers, and we should see that across other western parts of the uk, the rain having cleared away. still not very warm out there, even though for many areas the winds have dropped out towards the west with temperatures of 13 or 14 celsius. ironically it could be a little milder towards the south—east, but in the next few hours here we will have heavier and more persistent rain coming in, all the way from hampshire across to kent, and some very windy weather with gusts up to 60 mph across some of the coastal areas. that windy weather and wet weather does finally get swept away later this evening. most of the rain will move up into the north sea towards shetland, whereby the end of the night we could have gusts up to 70 mph. for the london marathon, it's going to be a much better day than today, a much drier day. hopefully the showers will hold. still breezy but temperatures reaching a manageable 16 celsius. we start there with a lot of showers for western parts, some will be heavy and possibly thundery. they will get blown eastwards, but they will take much of the day to arrive across east anglia and the south—east. more persistent rain together with those strong winds in the far north of scotland. temperatures will be higher than today peaking at 17 in the sunshine. the wet and windy weather we are seeing at the moment is moving through and as we head beyond mundy and into tuesday, another area of low pressure is set to arrive, for keeping things unsettled. for monday it looks a bit like sunday with sunshine and showers. similartemperatures, like sunday with sunshine and showers. similar temperatures, and then the low pressure is going to bring some wet and windy weather during tuesday. most of it will be affecting england and wales with the potential for some very strong winds in the south—west of england. 0ne potential for some very strong winds in the south—west of england. one to watch as we head into tuesday. goodbye. this is bbc news with the latest headlines: after days of queuing at the pumps — the army will begin delivering fuel to petrol stations across the uk from monday. the home secretary says police must �*raise the bar�*, by taking the harassment of women more seriously — a view echoed by health secretary, sajid javid. as the metropolitan police have said about the reforms they are looking at, it is absolutely right. we also need to be looking at what government can do to help build that confidence. the queen officially opens the sixth session of the scottish parliament at holyrood. an experimental drug for severe covid which could cut the risk of hospitalisation or death by about half. and two new streams of lava pose a further threat of destruction — as the la palma volcano forces more to flee.

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