elsewhere. there are some unhealthful myths surrounding women and their ambition and a lot of gender stereotyping around what a leader looks like, how a leader should behave. and some say issues like that are preventing further progress. the picture across the uk is very poor. if you look at our small companies, even in the listed sector, on small companies, even in the listed sector, on average we have small companies, even in the listed sector, on average we have only about 15% of women on board. and the business secretary says a lack of women in powerful executive roles needs addressing. we have a lack of female finance directors and i would encourage women who have an interest and a background perhaps in banking or in accounting to take that route onto the board, but not to go for what might be seen as softer routes whereby you might be shut out of some of the core business decisions. existing board members like francesca welcome the latest target being hit, but they worry getting

enough women at the top table remains a long way off. weather warnings have been issued across the uk this weekend with the approach of storm ciara. transport networks are expected to be disrupted and there could also be power cuts. wind speeds are forecast to reach 80mph. the person who knows all about this of course is susan powell. i hope i am not drop you in it by saying that! good afternoon! you are right, ciara is coming and we are looking at winds of up to 80 mph across a big swathe of the uk. the amber warning is for england and wales, may extend into scotland and northern ireland. there could be some disruption wherever you are tomorrow. you are probably wondering what on earth i'm on about at the moment, blue skies, sunshine and a light wind this afternoon. but the weather front coming in, it will be a pretty wet

night for scotland and northern ireland, especially as the band of rain grinds to a halt, so some pretty big rainfall totals here. rainfor pretty big rainfall totals here. rain forjust pretty big rainfall totals here. rain for just about everywhere by first thing on sunday, and then the wind comes into play. high coastal tides could mean flooding, the rain itself causing local flooding, tides could mean flooding, the rain itself causing localflooding, and the wind. we could see branches down, disruption to transport, power cuts even possible, and even i hate to say it a risk to life, so do stay tuned into the forecast tomorrow, and you might have to amend your plans. hello. this is bbc news with shaun ley. the headlines: 17 people are reported to have died and several others have been wounded in a mass shooting in thailand — the situation is ongoing and the suspect is still at large. five british people including a child have tested positive for the coronavirus at a ski resort in france. six senior conservatives write

to tory mps to raise concerns about the government's decision to allow huawei to help build the uk's 56 network. why would you want to build into your system an organisation that remains a threat? i don't know anywhere else in the world that would do that. the met office issues severe weather warnings for the weekend as storm ciara approaches from the atlantic. preparations are under way for england v scotland in the six nations this afternoon. wales are currently playing ireland. i will be back at the top of the hour with more news. now on bbc news, in a special edition talking movies reports from hollywood previewing the 92nd annual academy awards, interviewing many of the stars nominated in the major 0scar categories.

hello from the soon—to—open academy museum in los angeles, a globalfilm hub celebrating the art and science of cinema. i'm tom brook and welcome to our special programme previewing the 92nd annual academy awards. we recently went on a tour of the museum, which is priming itself for an unveiling later this year, after considerable delays. so, to a brief overview of the oscars race. the headlines this year: very close best director and best picture contest. nobody is quite sure which film will win. will it be the irishman or once upon a time in hollywood? or could the south korean picture, parasite, triumph? or will it be the british war epic 1917? i think right now the race is pretty divided between 1917 and parasite, but i have hope that

parasite will win. time and time again the parasite crew, like, the director and the actors have been hollywood popular royalty during this race, so i think it will prevail, but certainly there is so much support for 1917, and i think it is totally the front—runner right now. what might help 1917 capture the crown is its breathtaking cinematography, designed to immerse audiences. it looks as if the movie is just one continuous unbroken shot, although there are hidden edits. this technical achievement could help bring britain's 14—time 0scar nominee, cinematrographer roger deakins, his second academy awards trophy. we had to rehearse months and months before we shot because we had to rehearse before the sets were built, because everything had to be designed to the shot, and there's a danger doing all that that everything then becomes very mechanical. so i'm kind of glad i don't feel

the film feels mechanical, it feels quite organic, even though there was so much prep and thought put into it. in the eyes of many, the academy has brought shame on itself or not being sufficiently inclusive with 19 of the 20 acting nominees being white and, once again, no female filmmaker was nominated for best director. i think that the huge push from the academy to increase the diversity of its membership has been very successful and very pointed, but the kind of old boys network of hollywood is so entrenched. i mean, after all, let's not forget the oscars were invented to salute themselves, you know, and that network is very deep and old. the academy is a movie industry spectacle, but it's also a television ceremony, and there is massive pressure to increase ratings. a downward trend was temporarily arrested last year. the decision not to have a host may

have actually helped halt the ratings slide, so expect the same format this year. as an institution, the oscars is struggling to stay culturally relevant. i mean, yes and no. people still care about the oscars, i can attest to that. like, our day—after oscars stories always perform very well on our site, but at the same time i think there's less respect or interest in watching a whole 3—, 3.5—hour ceremony and more tuning in the next morning, the monday after, to see what won, what lost, what people should be paying attention to for next year or what they might have missed the year before. but as far as, you know, really caring about the pomp and circumstance of the ceremony, i don't think the same interest exists as much as it used to. when you review this year's list of nominated films, it appears that academy members may be guilty once again, critics say, of gender bias. the charges made that pictures with themes that are traditionally thought of as masculine — such as war, violence and organised crime — win more oscars.

well, is this true? emma jones has been finding out. last man standing. the saying ‘may the best man win' seems particularly appropriate at this year's oscars. war, cars, old school mafia and tarantino — this year's best picture list seems to play to traditional male interests. i'm working on a novel. it's a story of my life and my sisters. there's also one film about four 19th—century heroines based on one of the most popular books of all time. six—times nominated little women is up for best picture too, but its director, greta gerwig, isn't in the all—male best director category. and parasite, bong joon—ho. nice, you did it. applause. i did it, thank you so much. congratulations to those men. and finally...

two yea rs after #metoo, five years after #oscarssowhite, the oscars still seem to reward so—called male tales, films either made by men or films that pursue the interior life of men. cynthia erivo may have a best actress and best original song nomination for harriet, theme — emancipation, but the film itself is ignored. can you be more sensitive? what do you want from me? to scream and cry like you? so are other box office hits by female directors, such as lulu wang's the farewell, theme — family, and hustlers, theme — strippers. marielle heller's a beautiful day in the neighbourhood, theme — kindness, gets a nomination for tom hanks. learn to get along with the boys? you're sexy but too much work. i have a whole list. will other women come forward? bombshell, directed by a man,

theme — sexual harassment in the workplace — is rewarded only in acting categories. sweetheart, this is an island of safety and truth. it'sa man! sometimes we look for the oscars to reflect our times and be a gauge of what's going on on the wider cultural scale. this year, it looks like it's about ageing, the ending of an era. it looks like it's very much about men being preoccupied with politics and war, and we live in blokeish times, you've got trump and boris johnson. you're back to these kind of very masculine people bullying in their sort of politics, and maybe the films that we're choosing are reflecting those times. we've got orders to cross here. that is the german frontline. hold back! but perhaps nominations are also more reflective of the actual age and priorities of academy voters, which, in 2012, was 63, and even now is 72% male. the press reported that twice as many women as men were coming to early academy screenings of little women, but the public box

office tells a different story. i'm so sick of people saying love is just all women are fit for, i'm so sick of it! generations of readers have loved little women, the story of the march sisters, and this particular film adaptation has been awarded with six oscar nominations. and having made more than $100 million at the box office, surely some of these are going to see the film too? i've had guy friends see it. even at the new york premiere, a have a friend who's not in showbusiness at all, doesn't see a lot of movies, and i looked over and he was fully weeping, you know? and he's a very good test for me because he has no reason to lie or anything. this is a movie that's not as much about female empowerment and the struggles of being a woman at the time but also today in the way it lines up, but it's also, like, about the pursuit of artistry, and ifeel — and i don't want to personalise this, but maybe because i also grew

up in new york or a showbiz building, i didn't have that, i really did have the little women — like, i grew up with my sister and her friends basically. that should be more ok. the little women cast is represented in the oscar acting category. so is scarlettjohansson, twice. in the british baftas, margot robbie and johannson were both nominated twice. that left no places in the awards for actresses from more diverse films, such as hustlers and the farewell. although these films have been commissioned, they aren't being recognised, and the one woman who won a directing oscar, kathryn bigelow for the hurt locker, made a film about war. i believe that because kathryn bigelow is the only woman to win best director and it being a film about war means we have a lot of work to do. i think that obviously she deserved that nomination and that win, but we have to really consider other stories about women and girls and all the other people who live on this planet. everything isn't about war,

everything isn't about, sort of, disaster, some of the most beautiful stories come from the heart and they're about human connection and positivity and other things that really aren't considered by the academy at this point. what the academy considers important is increasingly at odds with the demographic going to the movies. when they come to consider best picture, there is at least one choice left that's a middle way familiar to both genders — netflix's marriage story, about divorce. let's look a little more closely at the oscar—nominated south korean picture, parasite, from director bong joon—ho — a personalfavourite. it could have a big night at the academy awards, it's certainly the favourite to win for best international feature. it's a dark comedy thriller in which a poor family in seoul insinuates itself into the lives of an extremely rich family, with all kinds of unexpected consequences.

it's a story of class warfare cowritten and directed by 50—year—old modern master of south korean cinema, bong joon—ho. translation: we currently live in an era of capitalism. i think it's inevitable to tell stories about the rich and poor, just me, but directors all over the world. bong joon—ho has a very accomplished track record. his first film, a dark comedy of errors, barking dogs never bite, was released in 2000. he followed it up with a critically—acclaimed crime drama, memories of a murder. arriving three years after that was his first big commercial success, the monster movie, the host. other hits have included his first english language film, snowpiercer, set on board a train in a dystopian future where passengers are rigidly divided by class, and then there's the celebrated ija, an anti—corporate farce and a fantasy involving a young girl and a genetically engineered pig.

critics see parasite in keeping with his body of work. i would say that thematically it fits in with what he's really devoted his career to, which is this idea of individuals who are just in danger of or about to be crushed by these giant, impassive systems, you know? he has been always really interested in the ideas of capitalism but also of, like, large systems and the ways in which individuals are lost in them. this story has really resonated powerfully with audiences around the world. in what way is it making an impact with people? translation: i don't think it's necessarily because of the universal story. i think it's really

because of the amazing charm that our actors have, their expressions and gestures, the physicality they express, and i think that's why it has become so popular. some people have complained that the film is excessively violent, particularly at the end. bong laughs. what is your response to that? bong: good! translation: so, the violence is, you know, part of a big tragedy that happens in the end, and if i explain further it will spoil the film, so i would like to refrain. parasite has been on a winning streak from the time it came out of the gate to win the palm d'or, the prime prize at cannes last may. it's now going to hollywood's most coveted trophy, that of oscars best picture. it's certainly come to the forefront of the race, and i also think that the industry loves it. you know, when you see bong joon—ho and his actors at these award shows, they get standing ovations. everyone wants to meet him. i think that just shows how much this film has kind of swept up hollywood.

whatever happens at the oscars, parasite will definitely have an afterlife. a version of it in black and white has already emerged and a parasite television film series is going to be produced by the american cable and satellite network hbo. parasite is becoming much more than a critically acclaimed arthouse film from south korea. it's a box office phenomenon, a multimedia spectacle and a possible oscars night sensation. one academy award category where women do dominate this year is in the best documentary feature race, where four out of the five films up for an oscar were directed or co—directed by a woman. tristen daly has been looking at one of them, called american factory. it's the first film released by former president barack obama and michelle obama's production company. our town, where we live —

dayton, ohio — has lost so much. people have lost theirjobs. because of that, they have lost their homes, their sense of being part of the community, part of the middle class. it was this sense of empathy for fellow citizens afflicted by the 2008 economic downturn that drove co—directors steven bognar and julia reichert to make the netflix documentary, american factory. in the wake of the recession, a factory that served as a general motors plant was shut down. it had previously employed thousands in ohio, leaving many without the means to support themselves. for a year and half, i didn't have anything. we lost our home, we lost a vehicle. american factory picks up in 2015 when hope arrives to the heartland of america in an unexpected way. a chinese billionaire came along and bought a gm plant that had been abandoned by general motors. he bought it. we were all very excited and we thought, wow. this has never happened in our hometown. we're not even sure if it has happened in the us.

that was so much hope. there was so much excitement forjobs finally coming back to our little town, and then it got really complicated. when i started at fuyao i was thankful, i was blessed, i wasjust on my knees thanking god that i had something. this former factory for american cars was transformed into a leading windshield manufacturer called fga, or fuyao glass america. though the workers are at first happy to have newfound employment, obstacles abound. the chief among them seemed to be the culture clash of a chinese company attempting to manage an american workforce, which culminates in a vote on whether or not to form a workers' union. the chinese billionaire chairman of fga prefers not to have unions interfering with the profitability of his business. here in los angeles, american factory faces stiff competition in the academy awards'

documentary category. however, one thing it does have going for it is its topicality, which might help netflix win an oscar trophy. american factory resonates as a deeply relatable story for us citizens, as it deals with complicated relations between the united states and china. it has way more topicality than we ever thought when we were making the film. because of course we have a new president who started a war, a trade war, with china. and ourfilm takes place partly in china and partly here. so people look to us, look to our film, to say, like, how can we understand globalisation? how can we understand what's going on for our working class? the conditions are not favourable. this documentary is bringing oscar voters, many of whom live privileged lives, a vivid portrait of working—class america. this is partly due to the fact that the filmmakers got incredible access, not only documenting personal struggles of the american worker but also private corporate

meetings among higher—ups. despite the culture clash that takes shape between the managers and the workers in the american factory, the filmmakers hope that viewers and oscar voters see a bigger picture. well, i think it reveals that there are different managerial styles between the americans and the chinese, but i think it also reveals something about capitalism and power, and that no matter what economic system you're coming from, workers are always going to get squeezed by the machine. nothing in america has changed in terms of working people working hard. what's changed in america was rich people deciding they wanted to rewrite the rules to take advantage of people. it's time to stick my neck out and try to predict which films and individuals will be going home with the top oscar prizes. in the acting race, there are clear favourites, but that's not so in other categories.

the screenplay categories are the hardest to figure out. my guess is the best adapted screenplay will go to steven zaillian for his work on the irishman. but in a year when women were shut out of the best director race, most notably greta gerwig, the academy may be inclined to compensate by giving her the adapted screenplay prize. best original screenplay will probably go to two—time oscar winner quentin tarantino, but don't be surprised if filmmaker bong joon—ho steals that price from him for his work on parasite, a film that is very popular with academy members. with the best animated feature, many think toy story 4 will pick up the oscar. we never give up on the americanjourney. to me that would be un—american. best documentary feature, well, the oscar for that could go to american factory,

the story of a chinese multinational which takes over an abandoned car plant in ohio. best international feature, almost everyone is betting that bong joon—ho's south korean hit parasite will take that trophy. having picked up just about every pre—oscar award, it will be very surprising if it doesn't win. the race in the best director category is a little uncertain, with the conventional wisdom being but the price will go to britain's sam mendes for his very accomplished world war i epic 1917. but that trophy might also go to quentin tarantino or bong joon—ho. it's a close contest. can you tell me a little more about what's going on? because part of what we're going to do together is telling your story. best supporting actress, well, it will be laura dern's turn to win an oscar for playing a tough divorce lawyer in marriage story. she is the definite favourite. you hitch up and down burbank boulevard all day till

someone says they'll drive you to chatsworth? so is brad pitt in the supporting actor category, who's expected to take home an oscar for his portrayal of a stuntman in once upon a time in hollywood. # somewhere over the rainbow... in the top acting categories, for actress in a leading role, that prize has to go to rene zellweger for her spellbinding portrayal of judy garland. when did you become convinced that you had got it right? that you had actually made it work? that never happened! that never happened. that, uh, no. just keep trying and trying and trying, that's all. manic laughter. and best actor, well, joaquin phoenix is expected to take home that trophy for playing the dc comics villain in the film joker. and finally, the best picture category. 1917 is probably going to walk away with the oscar's top award,

but don't be surprised if parasite steals the crown. it very well could. well, that brings a special oscars preview edition of talking movies to a close. we hope you've enjoyed the show. please remember you can always reach us online at bbc.com/talkingmovies, and you can find us online on facebook and twitter. so from me, tom brook, and the rest of the talking movies team here in los angeles, it's goodbye as we leave you with the oscar—nominated song from toy story 4. i want you to meet forky! uh, hi? all: hello! he's a spork! yes, yeah, i know. # i can't let you, i can't let you # i can't let you throw yourself away # don't you wanna see the sun

come up each morning? # don't you wanna see the sun go down each day? hello. wherever you are and whatever your plans in the next 2a hours, there is a good chance storm ciara is going to have something to say about it. severe gales anticipated across the breadth of the uk. disruption expected to transport. the winds possibly even causing risk to life, branches down. it doesn't look like much on the satellite picture currently. another front comes much on the satellite picture currently. anotherfront comes in the north—west, tending to stall across parts of northern britain, producing some pretty high rainfall totals. the wind is already started

totals. the wind is already started to strengthen as we look at the evening to come. notice how the rain doesn't really move from southern scotla nd doesn't really move from southern scotland and cumbria, up to a0 millimetres possible for some spots here, and gales overnight to the north and west of the uk. rain into almost all areas by the time we get into sunday morning, perhaps a little snow for the north of scotland, but perhaps the far north, though, getting the best of any dry or brighter weather first thing on sunday. but here is the area of low pressure that is storm ciara. notice how the isobar strength across the length and breadth of the uk. you're not safe from the strong winds anywhere. we are anticipating 60—80 mph gust of wind just about anywhere, and for a central swathe of scotla nd anywhere, and for a central swathe of scotland later in the day, those wins could peak at up to 85 mph. it will be windy throughout the day, there will be a spell of heavy rain first thing, squally showers with the hail and thunder following first thing, squally showers with the hail and thunderfollowing on behind, and notice how the isobars squeeze through the evening. it is

that period, a—6 pm where we could get exceptionally strong winds in what would be an already very windy day. elsewhere, of course, a windy story as well, a band of rain clears through the morning but then plenty of showers for behind. localised flooding, coastal flooding of showers for behind. localised flooding, coastalflooding due to high tides and the strength of the wind, and the damaging wind, the big thing to factor in for your day. it could mean disruption to transport, and power cuts and potentially as i said could even mean a risk to life. the outlook for monday and tuesday remains very windy as well, perhaps something a little quieter by midweek.

this is bbc news. i'm shaun ley. the headlines at three: 17 people are reported to have been shot dead and several others wounded in a mass shooting in north east thailand — the situation is ongoing and the suspect — a soldier, is still at large. five british people including a child have tested positive for the coronavirus at a ski resort in france. six senior conservatives write to tory mps to raise concerns about the government's decision to allow huawei to help build the uk's 5g network. why would you want to build into your system an organisation that remains a threat? i don't know of anywhere else in the world that would do that. officials working on boris johnson's pledge to recruit an extra 20,000 police officers say that they'll actually need to take on more than 50,000 as many are set to leave.