justin trudeau, said there was no reason anyone needed guns in their everyday lives, except for hunting or sports shooting. ahead of the platinum jubilee celebrations this week at super—size images of queen elizabeth have been projected onto stonehenge and in the south—west of england and each of those images marks a decade of those images marks a decade of her rain. for many, queen projects and enduring image of britishness around the world and thisjubilee week our royal correspondent looks at the queen's iconic public image. one of the most photographed and painted people in the world. sometimes a vivid presence in public life, orjust a quiet part of our everyday. being king or queen is an exclusive club. jordan's king abdullah is in a unique position to understand the pressures and privilege of monarchy. his father, king hussein, became king in 1952, the same year as the queen's accession. a close family bond that continues today. when you look at her majesty, you look at consistency, and i think putting the moral bar at the highest point possible. again, if you look at 70 years of british history, you've had good days and bad days. her majesty, i think, was a beacon of light, of hope, and continues to be, i believe, for your nation and for many of us around the world. but for most of the past 70 years, the queen's public image has been largely unchanged, and tied to a sense of national identity. i think that the queen's presence makes britain kind of larger than it is because it has such a global attention. i mean, we don't care what the royals in the netherlands are like or are doing. we don't care what the king of spain is doing, you know, next week. we have no idea. but people are very, very involved with, invested in, focused on what the british royal family are doing at any given point of the day. official photographs are the defining images of monarchy. for the goldenjubilee, the photographer rankin took this picture. he captured the queen laughing when he dropped some camera equipment — an unusual, off—guard official photo. when i was waiting in the throne room, where she knights people, i was watching her walk towards me with a footman, and they were laughing. i remember her walking through the door, and ifelt this incredible sort of wave of power. the power in the room. 70 years on the throne gives you that impact. from all angles, perhaps the most recognisable figure in public life. daniela relph, bbc news. now on bbc news, in a special edition talking movies reports from the cannes film festival as it marks its 75th anniversary. hello from the french riviera! i'm tom brook and welcome to our talking movies cannes film festival special. in today's programme, we look back at highlights in this 12—day french film extravaganza. 2022 is a big year for the festival — its 75th anniversary an occasion for rejoicing by cinema lovers. proper fabulous film festivals are wonderful places just to meet other artists and find out what they're thinking about. i love cannes. here, actors and actresses are worshipped. we report on hollywood star tom cruise coming to town and being given the festival's highest award, the palme d'0r. he is very nice. he played very good. and one of the most eagerly awaited films of the festival — body horror picture crimes of the future from david cronenberg. even the grimmest moments — especially grimmest moments — of shooting his movies tend to be the days that we have the most fun on the set. films made in or about ukraine where a central feature of the festival. for us, it's important to present our movie and show why we have a fighting mentality. and three years after parasite won the top prize at cannes, films from south korea make an impact at the festival. ever since parasite blew up in 2019, i've seen this ballooning success of korean films. all that and more in this special cannes film festival edition of talking movies. as ijust mentioned, 2022 marks a special year for the cannes film festival because what is arguably the world's most famous and glamorous film festival is marking its 75th anniversary, and there was the hope that here, on the french riviera, as covid—i9 moved more into the background, that this year, the cannes film festival would be as close as possible to normal. as cannes got under way, someone cinephiles were looking back to the old days. ..filmed on the beautiful french riviera. alfred hitchcock's 1950s thriller to catch a thief, starring cary grant and grace kelly, set in and around cannes, has moments which reflect the glamour that has always partly defined the festival. diamonds. but glamour aside, at its core, the official selection of films at the festival has always displayed a commitment to serious cinema. i think the important thing about cannes and why it'as lasted so long — 75 years — is that it's managed to balance the constraints of glamour and intelligent art house cinema. you can'tjust have the festival and its rigorous art house from around the world — it needs the sprinkling of glamour, it needs the buzz. the umbrellas of cherbourg in 1964... # as the eagles soar. ..michael moore's incendiary documentary fahrenheit 911 in 2004, quentin tarantino�*s pulp fiction in 1994, federico fellini's la dolce vita in 1960 are all films that have won the top prize, the palme d'0r, at cannes over the decades and achieved landmark status. # let's don't let a good thing die. this year, baz luhrmann�*s portrayal of the life and music of rock �*n�* roll legend elvis presley, starring austin butler and tom hanks, was among the movies that got attention at cannes. we are two odd, lonely children, reaching for eternity. of the 21 films in competition this year, there were many pleasing entries. can you relax your triangle of sadness? social satire of the modelling world triangle of sadness, starring woody harrelson, had ardent followers. bruno! as did the eight mountains, set in italy — a powerful and moving tale of male friendship. then there was holy spider — a controversial fictional interpretation of a killing spree of prostitutes two decades ago in the iranian city of mashhad. to many, what has made cinema on offer at cannes distinct over the years is that it isn't controlled or excessively moulded by hollywood. cannes plays a very valuable role in the world because it's not hollywood, and cannes has this very french, european, you know, attitude towards cinema, which is — which is great. cannes is the one that will give prizes to films that maybe no—one has heard of or will not be commercial so i think cannes is valuable, i think it's still a valuable market. you know, i think it's a place where the industry gathers. although there's a festive spirit at cannes on its 75th anniversary, there are some disconcerting realities, such as what does the future portend for this mammoth festival firmly committed to showing films in cinemas in a world where streaming has really taken off? one of the most eagerly awaited films at cannes this year was crimes of the future from canadian film—maker david cronenberg. it boasts an impressive cast — viggo mortensen, lea seydoux and kristen stewart. emma jones reports. it's eight years since canadian david cronenberg competed at cannes. this director's go—to theme has been the relationship between the body and mental disturbance. it is time to start seeding. it is time to listen. but with crimes of the future, cronenberg's back to the feel of one of his earlier movies, such as the fly. the fly got into the transmitter pod with me that first time when i was alone. are you afraid of all emotion? viggo mortensen and lea seydoux play performance artists who use each other�*s bodies as canvases at a time when the human body is evolving to adapt to the synthetic world around it. it's a brand new organ, never before seen. if it feels like a throwback, it's because it is. i believe that you wrote crimes of the future more than 20 years ago? it's really strange, isn't it? i mean, when i wrote it, nobody was talking about micro plastics and now, every — just a week ago, or two weeks ago it was, "well, actually, we found micro plastics in the bloodstream". before, we had already found it in maybe 80% of humans in the flesh. we examined the body — human, you know, people who have this — and it seems that the body is accommodating it somehow. it's not going crazy, it's not creating cancers. what does this mean? and so, this is suggesting something that, on the face of it, might be outrageous but turns out to be actually rather realistic in an odd way. mortensen, cronenberg's collaborator from other works, including 2005's a history of violence... i think i'm losing my mind. ..returns, this time a celebrity artist saul tenser, who's unusual in that he can still feel physical pain. pleasure has also evolved into something quite different. it's always fun with him. i mean, i trust him. he's very open to me and to others in terms of their suggestions, their ideas. he makes you feel part of the storytelling, you know, in a real way and so, i tend to be willing to try things for him that i might hesitate to try for other directors. this is david cronenberg's sixth time in competition at cannes. despite his reputation, he's never won the palme d'0r. the closest he has ever got to it was a specialjury prize in 1996 for crash. it's something we are all intimately involved in. crash, about the eroticisation of car collisions, prompted some famous cannes walkouts at the cinema when it was shown in the 1990s. ..surgery is sex, isn't it? isn't it? you noticed? now, one of crimes of the future's leading actors, kristin stewart, thinks audiences are ready to look at cronenberg's directing vision, however provocative. maybe he just is smarter than us! because we have been on the, you know, sort of — not to be too dark about things — but the path to destruction for a very long time and as quickly as technology develops, i think that he probably was fearful of that well before we were. that he wrote a movie about people who need to cut into each other to feel something or feel close to each other feels really urgently immediate and only very recent. many of cronenberg's directing descendants also found success at cannes. julia ducournau's palme d'0r�*s titane — a body horror about a woman who gets pregnant by a car — clearly found inspiration in his work. at nearly 80 years of age, he's already got another movie planned and as crimes of the future shows, he's lost none of his ability to provoke here at cannes. hollywood star tom cruise is one of the big attractions at cannes this year. he came to the festival to promote his new top gun sequel, top gun: maverick, and to be the recipient of a tribute for his 40—year career. he also received a surprise accolade — an honorary palme d'0r, the festival's highest award. the french air force put on a big show for tom cruise at the cannes film festival, honouring him with an impressive fly—past by eight fighterjets. he is one of the biggest names to stand on the red carpet at the famed palais de festival in cannes. being feted at the festival with a special career tribute has to be one of the highlights of his career. this isn'tjust about me, it's about everyone — everyone that i've worked with. a celebration of movies. to be able to share it with people that have just worked so hard, i'm like, this is a celebration of movies and it's beautiful, i'll never forget it, it was really lovely. people are standing in line for hours to get a glimpse of him and screaming and yelling and saying "tom!" "tom, turn around!" "wave at me!" in recent days, cruise has been at several premieres for his recent top gun: maverick film. despite all the hoopla that surrounds him, he's keen to point out that his new picture is celebrating us naval aviation culture. it really is representing that culture and aviation and the navy culture and kind of has the same ethics of doing the right thing, about family, about tradition. # take those old records off the shelf. tom cruise made his big breakthrough in 1983 in the coming—of—age comedy risky business. over the years, he's garnered critical acclaim in films such as the color of money, rain man... my brother? i don't have a brother. ..jerry maguire... show me the money! ..and born on the fourth ofjuly. i don't want you to feel sorry for me. he's also the star of the hugely successful mission: impossible series. rightly or wrongly, he's perceived as a commercial actor. some wonder if his career warrants a special tribute from the august cannes film festival, including giving him an honorary surprise palme d'0r — the festival's highest award. i think what cannes is doing by saying, "come here, "tom cruise," there was some reservations, people saying, "well, he doesn't make the finest movies, he doesn't "make art house pictures," but he does power cinema, and i think that's why cannes is honouring him this year. tom cruise — top gun. in 1986, tom cruise starred in the original top gun film, playing a us navy test pilot. i'm on my way. it was a huge hit. it made in cooperation with the pentagon. that's classified. in the wake of the film, recruitment into the us military reportedly shot up. although top gun has done remarkably well at the american box office, it's not without its detractors. some say the film glamorised combat — a point that i put to a very young tom cruise at that time. if we wanted to make a war film or a film about — that glorifies combat, we would've been blowing people away from the beginning to end. it's a film about character, and essentially, the end big battle, the adversary is faceless, the opponent is symbolic of the character and his conflict. having any fun yet? now, 36 years later, we have top gun: maverick sequel. the film has been getting outstanding reviews. it's seen as less jingoistic than its predecessor. the 59—year—old star has been on a charm offensive promoting his film. 0n the french riviera, there was a lot of love for him. he is very nice. he played very good. he's very famous and he's serious about his life, you know? very professional, so i think he's a good guy. your reputation precedes you. i have to admit, i wasn't expecting an invitation back. top gun: maverick looks set to put him back on top and bring some solid, much—needed business to cinemas around the world, struggling to recover from the impact of covid—19. a central feature of the cannes film festival this year has been the war in ukraine. that disconcerting reality has made its presence felt in numerous ways, from president zelensky giving a live video address to the opening night audience here at cannes to several films made by ukrainian film—makers or shot in ukraine being shown here at the festival. but can these movies really make any difference to what's happening with the war, to people's lives on the ground in ukraine? a church basement seen in the documentary mariupolis 2 shows the desperate lives of citizens who've lost their homes through the devastations of war. it comes from lithuanian director mantas kvedaravicius, who was killed allegedly by russian solders in april. his fiancee smuggled the film out of ukraine. it was hurriedly assembled. one of the film's co—producers, nadia turincev, believes it's bringing audiences something quite different from news footage from ukraine. the narrative is the days that people spent, was the bombing that you hear and you see sometimes, and how they live, so maybe those who can see this film, they're gonna be looking differently at what happens there but also, everyday life, other things. pamfir, anotherfilm from ukraine at cannes — a small—town drama — doesn't, on the surface, have anything to do with the war. but its director, who is making his debut feature with this film, believes his movie does demonstrate the resilience of ukrainians. for us, it's important to present our movie and show which kind of a people exist in our country, with the passion, with the power, with, you know, struggle and why we have so much, like, a fighting mentality. these films, shot in ukraine or made by ukrainian film—makers, are definitely attracting interest in cannes. people, of course they have interest. some people want to help us and they are buying ukrainian films, because this is actually, like, a very obvious way to help, unfortunately, but the interest just increased dramatically. the cannes film festival has condemned russia's invasion of ukraine. the official russian film delegation was uninvited. but the fact that the russian film tchaikovsky's wife was permitted to be shown in competition at the festival has angered the ukrainian film community in cannes. even though it comes from a russian dissident exiled director kirill serebrennikov, who condemned the war and sought refuge in germany. cinema and art in general is a huge statement around how valuable human�*s life is, how important human life is. it's absolutely anti—war statement. ukrainian film—maker dmytro sukholytkyy—sobchuk is annoyed by this film's presence and its director at the festival. it should be normal process when the cultural institutions cancel every russian citizen. when he here, he the part of the russian propaganda. mesdames et messieurs, volodymyr zelensky. applause. despite president zelensky�*s plea in a live video address to the opening night audience at cannes not to stay silent over russia's invasion of ukraine, the reality is that cinema at cannes isn't likely to have much direct impact on the war. but what, at least, film here on the french rivera can do is get people to think about the war and all its complexities. there has been no escape. when the film parasite won the top prize, the palme d'0r, here at cannes two years ago, and then went on to win the best picture 0scar, it really heightened interest in south korean cinema. well, this year, country's cinema has been very much centrestage at cannes, as emma jones reports. a year ago, leejung—jae wasn't a global acting star and possibly wouldn't have had a midnight premier at cannes, for his directing debut, the thriller hunt. sir, we've just intercepted this. but that was before netflix�*s squid game — a gory series where contestants are literally eliminated as they compete for a cash prize by playing children's games. its success has sealed south korea's reputation as a cultural hub, from where some of the world's most compelling film and tv originates. its lead actor has been reaping the rewards at this festival. translation: in korea, we all know this cannes l festival and it's a dream place for to come for all the people in the movie scene. so, i'm just really excited, and i still feel i'm in my dream. hunt, which took the actor four years to write, is an espionage thriller set in the early 1980s in south korea — a difficult era for the country and a world away from the prosperous democracy of today. screaming. man down! rattling at a speed of 100 bullets a minute, hunt is an action film — very different to parasite, the oscar winner that took its director bong joon—ho from a beloved festival auteur to household name. ever since parasite blew up in 2019, i've seen this ballooning success of korean films. but when you think about it, that success has always been there. like, ever since 2000, we've seen directors getting all these international awards for their films, so there has been ground work laid, it's always been there. it's just with the success of squid game, you know, now we're all seeing it. ever since bong joon—ho's parasite took the palme d'or here at cannes in 2019, the festival's had a special association with korean film, so it's no surprise that another highly respected korean director wanted to launch his latest project here, too. director park chan—wook is back in cannes after six years. he's twice won thejury prize, including for 2004's old boy. his latest film, decision to leave, is a sumptuous noir love story between a policeman and a suspect named seo rae. translation: this premise, that the detective will find i out that it's actually seo rae who killed her husband, and that is really usually the end of a feature—length film, right? but that is the end of the first part of my film, and another whole new story unfolds in the second act. other film—makers are eyeing up korea as a cross—cultural hub, including the japanese palme d'or winner hirokazu kore—eda. broker, in competition at the festival, was filmed in south korea and with a stellar cast, including parasite actor song kang—ho. the film is a story of so—called baby boxes, which allows unwanted babies to be dropped off and cared for by others. sadly for cannes, with its back still turned to netflix, it's taken the streamer to produce a global hit like squid game and propel its star up these red steps. but the appetite to watch content from korea can only continue to increase the audience for these films that premiered here. well, that brings our special cannes film festival edition of talking movies to a close. i hope you've enjoyed the show. please remember, you can always reach us online at: and you can find us on twitter. so from me, tom brook, and the rest of the talking movies production team here on the french riviera, it's goodbye. hello there. the week has started with plenty of heavy showers. the big question mark is around how many of those heavy showers will remain by the end of week for the platinumjubilee. we will talk more about that at the moment, but we start with a look back at the recent satellite picture. shower clouds rotating on top of the uk, underneath an area of low pressure, which stays with us through tuesday, so there will be further showers — this frontal system being the risk of more persistent rain in northern ireland. quite a chilly start of the morning and there will be some spells and sunshine around, but some showers from the word go. and those will develop quite widely into the afternoon and some will be heavy, some will be thundery. parts of wales in the south—west could dry out a little bit towards the end of the day. sunshine — 17 degrees for cardiff and plymouth. cooler for the north and 12 in newcastle. 11 for aberdeen. and this band of cloud will bring some rain across northern ireland through the evening. that then moving to the irish sea, across the isle of manm and south—west scotland, as well north—west england and parts of wales, as we head into wednesday morning. elsewhere, some clear spells and one or two showers on wednesday, again, getting off to a relatively chilly start in some places. no prizes for guessing — wednesday is another sunshine and showers day, but the showers increasingly will become focus across central and eastern parts of the uk. out towards the west, not as many showers, more in the way of sunshine. and with more sunshine, generally, temperatures will be a little bit higher — 17, 18, maybe 19 degrees. then, getting into the start of the long weekend, for thursday on the face of it, things don't look too bad, plenty of sunshine, one or two rogue showers. this cloud in the frontal system does threaten to introduce some rain into northern ireland to the afternoon. where we do get sunshine, it will be warmer. temperatures between 18—21 degrees. some headaches then on the forecast for the weekend. this frontal system pushing up to the north—west. this broad low asaib ahl south could throw some into southern england by the world as we had to saturday and into sunday. the big question mark is about how many showers we will see. the chance is certainly there. that said, it should often be dry and where we see some sunshine, it will feel fairly warm. welcome to bbc news, i'm david eades. our top stories: european union leaders agree further sanctions against russia over its invasion of ukraine — but stop short of imposing a total ban on russian oil. the battle for donbas — we report from the frontline as russian forces close in on ukraine's eastern region. this might all simply bejust in case. a contingency plan. but if the russians do blast their way through they are going to need it. justin trudeau proposes new laws to crack down on on the sale, transfer and importation of handguns in canada. mona lisa with cream cake, a man is held after attempting to deface the world famous portrait in the louvre museum in paris.
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