hello from los angeles. i'm tom brook and welcome to our talking movies oscars review special. we look back at highlights from hollywood's biggest night of the year. christopher nolan, oppenheimer. we hear from some of the major winners, including oppenheimer director christopher nolan. i can do curls. they're very heavy. er, it's...it's such a thrill. # watch me...# we look at why barbie, the biggest hit of 2023 and a critical favourite, didn't seem to impress academy voters. i'm here on the venice beach boardwalk to find out why on the night, it was oppenheimer that skated away with all the oscars. we also travel to auschwitz, the former concentration camp where the oscar—winning the zone of interest was shot, to discover the care and craftsmanship that went into making this film. the sound, which is absolutely a masterpiece, brings the horrors. and we'll be telling you who we think will be

going home with the big oscar trophies one year from now, in 2025. there were some great movies in the offing at the oscars this year, and for the most part, the prizes went the way most people expected, with one or two notable exceptions, and it was a pretty solid oscars ceremony as well. for me, the best moment was when ryan gosling brought the house down when he performed i'mjust ken from the movie barbie, but it was the picture oppenheimer which went home with the most oscar trophies. oppenheimer. it was oppenheimer�*s night to rejoice. it took home seven trophies, including the top best picture prize... cillian murphy. ..best actor for its leading man, cillian murphy, and best director, as everyone expected, went to christopher nolan for his masterful portrait of the so—called father of the atomic bomb. movies are just a little bit over 100 years old. imagine being there 100 years into painting or theatre. backstage, he was buoyant. the film has been a commercial

and critical hit, and now he was savouring triumph at the academy awards. the response from people around the world far exceeded anything that i'd imagined possible. and, you know, winning this recognition from my peers isjust, i mean, the icing on the cake. the oscar wins also translate into bonuses for nolan. industry trade papers report that he may personally pocket around $100 million from oppenheimer. he was already a big 500—pound gorilla, a—list director. he has the world at his feet. he can do whatever he wants now, and all the studios are vying for him to go to them. oppenheimer was a display of great craftsmanship and originality, and thankfully, originality was rewarded on oscars night, with four trophies going to the adventurous satire poor things, including best actress to emma stone. i am bella baxter. this was her second oscars trophy. backstage, she was a little stunned by her victory. i was very shocked. i still feel like i'm

spinning a little bit. it's a huge honour and i'm very...yes, i'm very surprised. surprised because she probably thought, like many odds—makers had been predicting, the best actress prize would go to lily gladstone... evil surrounds my heart. ..who'd made oscars history by becoming the first native american best actress academy award nominee for her powerful performance in the epic martin scorsese—directed western killers of the flower moon. explosion surprisingly, that film went home with no trophies. if summer doesn't sing in you, then nothing sings in you. as did bradley cooper's leonard bernstein opus, maestro. if nothing sings in you, then you can't make music. broadly speaking, oscar voters were generous in their inclusiveness. the racial satire american fiction won for its screenplay. we love it. both: what? it is very, er... black. yes, that's it. i'm happy you said it and not me! - and da'vinejoy randolph won

a best supporting actress oscar for her emotionally powerful performance in the holdovers. you don't tell a boy that's been left behind at christmas that nobody wants him. what's wrong with you? she was grateful for the recognition. i thank you for seeing me. have a blessed night. thank you so much. cheering and applause it was also a night for rewarding global film talent. is that the truth or a lie? a lie. the truth. miyazaki's the boy and the heron won for best animated feature. hm—hm. a victory forjapan. as was the best visual effects prize, which went to godzilla minus one, and a french screenplay, anatomy of a fall, also won a trophy. i'm not a monster. it was international night at the oscars. we have an international oscars _ they've added more international members to their voting body. 20% are international now. the british holocaust—era drama the zone of interest won for best international film, and it also won for its sound.

more on that later. right here. the film's director, jonathan glazer, was one of a number of oscar night attendees who brought the politics of the real world to the proceedings, referencing the conflict in the middle east. chanting a pro—palestinian protest in los angeles also delayed the start of the oscars telecast by demonstrators who held up traffic. chanting: ceasefire now. move from this area. you're holding people up. palestinian protests— shut down the oscars tonight. humanity wins. child screams and russia's invasion of ukraine was mentioned when ukrainian film—maker mstyslav chernov won the best documentary prize for 20 days in mariupol. it's been a privilege, but it's been a strange, painful experience at the same time, because i'm standing here, my heart is in ukraine. strangely, after all the talk that the oscars telecast would reach a bigger audience because of the presence of blockbusters oppenheimer

and barbie in the contest, there was just a 4% increase over last year in the number of us viewers tuning in for the ceremony. perhaps the glory days of the oscars being a big phenomenon that unites the nation are now over. but at least this year, it was a buoyant ceremony defined by trophies being awarded very much on merit by a cinema—literate, more international voting membership. personally, i was a bit disappointed that barbie only took home one oscar trophy. it went into the proceedings with eight nominations. there is no doubt that oppenheimer is a very fine picture, but to my mind, barbie was more imaginative, more forward thinking, more of the moment. emma jones has been finding out why barbie didn't really resonate with academy voters. if the oscars had a viral moment, surely it was this. ryan gosling bringing the kenergy... # i'mjust ken...# ..for his i'm just ken performance, complete with rock guitarist slash... # ..my destiny to live

and die...# ..mirroring the look of marilyn monroe's diamonds are a girl's best friend. # a kiss on the hand # may be quite continental...# with gosling, margot robbie, america ferrera and greta gerwig all present, the night still felt like a barbie party, even if it only won once, despite its eight nominations. # what was i made for...# billie eilish and finneas o'connell picked up best original song... # something i'm made for...# ..for what was i made for? # and she'll have fun, fun, fun...# the presence of team barbie brought much of the fun and glamour to the night, even if pitted against its old rival, oppenheimer, it seemed inevitable — although barbie won the box office battle, with revenues of nearly 1.5 billion, it wasn't going to receive awards recognition. so why is that?

barbie was a cultural event of 2023, with some of the scenes already becoming iconic, although i never quite expected to be asked to recreate one of them. i'm here on the venice beach boardwalk to find out why on the night, it was oppenheimer that skated away with all the oscars. it's a powerful narrative. it's an american dream narrative which people really want to hear right now. they really want some ode to the past that we can still become the greatest. and people like war. unfortunately, people like war and bombs and winning things and battles that go their way. you love her... right. ..you know. is the female experience that barbie focuses on still taken less seriously than the male? and if so, what does bypassing such a popular film say about the relationship between the industry and the public? the academy is running around saying, why doesn't anybody take the oscars seriously? that's part of it. why isn't anybody watching? because they have created a gap between what they think matters and what the public thinks matters. ijust had more conversations

about that movie this year than anything else, and that matters. i think that when we look back at this oscars ten years from now, we're going to be thinking about barbie. britain made oscars night history with the picture the zone of interest. it became the first british movie ever to win in the international feature film category. it also won an oscar for its sound, which is a very impressive aspect of this historical drama, put together by film—makerjonathan glazer. i recently travelled to auschwitz, in poland, the site of the former concentration camp, to meet the film—making team from britain and poland. as a jewish person, i've always resisted coming to auschwitz — this will be my first time — because of the darkness of the place, the awfulness. why would i want to think about that or encounter that? but i'm very intrigued to see

the place and to see what film—makerjonathan glazer did with the location to craft a picture that i think in many ways is very unique in terms of the perspective it has and what it tells us about the holocaust. the zone of interest is defined by its point of view. the focus is not on those who suffered at auschwitz, but on the perpetrators. chief among them, rudolf hoss, the nazi commandant of the camp who lived, with his wife and children, a seemingly blissful life in a house adjacent to the concentration camp, just a short distance from the crematoriums. i felt that the film had to be about this place and also had to sort of blur the line

between then and now. jonathan glazer really anchored his film to the location to create what feels like an anthropological study filmed with 12 fixed hidden cameras on set. the idea was to put the hoss family under surveillance, to focus on the domestic routines of one of the architects of mass extermination. it's quite different from standard—issue holocaust movies. this is the point that jonathan glazer drives home right from when he first unveiled his movie. what we've tried to do with this film is, is try and find a way of showing this in a way that people perhaps haven't seen it before, the perspective of it. we all know it's very important to keep talking about this and to keep showing it, and to talk about it and try and find a new paradigm for it, so that a new generation can discover this for themselves through film.

i have to say, it's rather unnerving to be inside this former concentration camp here at auschwitz. and the building right behind me was the real home of the former commandant of auschwitz. one of the things that's incredibly powerful with jonathan glazer�*s film, the zone of interest, is how he uses sound to convey the horror of the concentration camp. you hear the noises of hoss's children playing joyfully in the garden, just back here, combined with the suffering coming out of these buildings. people in pain, gunfire. the juxtaposition of these sounds is truly horrifying and very powerful cinema. it conveys all the horrors from behind the wall. we don't show it. the sound, which is absolutely a masterpiece, you know, the way it's done. you know, that brings

the horrors and it also helps to build the film together. it's actually very disturbing to look at that. and it is also disturbing for us. pawel sawicki, a press officer and teacher at the auschwitz memorial, is among those who liaised with the british film—making team. today, the technology is really helpful. you can make a documentation at the authentic site and incorporate it into the movie. and this is actually what the zone of interest did, because the set of the zone of interest was right over there. he believes what gives the picture added authenticity is the painstaking attention to historical detail in the screenplay and production design. authors, film—makers, writers, when they do something about the history of auschwitz, they do not tend to research much. they do not go to the archive, spend weeks or months reading testimonies, trying to get into the context of the story. and here, we had kind of the opposite situation, where they were maybe even bothering us a little bit too much. and you can speak with our historians, how many emails

they got from the film crew asking about details. the film's official polish premiere took place at auschwitz. among those invited were individuals from oswiecim, a town just a stone's throw from the former camp. watching the film forced locals to accept the horror of the human slaughter in their own back yard. you know, the film tells the story about normalising the cruelty that is happening in there. and i think that people who are living in here also had to accept the place, with all the darkness that comes in here. more than anything else, the zone of interest is a triumph of cinema. there's an unblinking coldness to its observations that makes you acknowledge, rather frighteningly, that the perpetrators of the violence here in auschwitz weren't, in certain key respects, that different from you or me. that is the power of the film. to try and show these people as people, and not as monsters

was a very important thing to do. because human beings did this to other human beings. and obviously, it's very convenient for us to try and distance ourselves from them as much as we can, because obviously, we think we could never behave this way, and we don't behave this way. but i think we should be less certain in that. what a horrible manifestation of humanity this is. and, you know, ithink through cinema, through this film, the zone of interest, you realise that darkness is still at large in the world. we're all capable of doing, to varying degrees, dreadful things. so this does keep happening. genocide has certainly not gone away. it was, at least to me, welcome news that, back in hollywood, the zone of interest

was recognised for best international film and for best sound. justly deserved rewards for an exceptional film. this year's oscars ceremony is barely over, but already, there's speculation over who will be taking home trophies from the oscars one year hence, in 2025. alan moloney has been speaking to those in the know here in los angeles, trying to find out who next year's oscars contenders will be. the last 12 months have seen some truly great cinema. and the next year looks to be no different, with some really exciting work scheduled to be released. denis villeneuve�*s science fantasy dune... ..won six academy awards in 2022. you are not prepared for what is to come. and its recently released

sequel dune: part two has been a critical and commercial hit. this world is beyond cruelty. i don't think i've ever seen the kind of reverent, almost religious overtones for people in terms of the experience they've had watching dune 2. he who can destroy a thing has the real control of it. _ it checks off all the boxes for all the technical stuff in hollywood. you know, visual effects, cinematography, editing, sound... ..score. you're going to see it competing at a high level and coming away with armloads of oscars in 2025. this year's oscars could have looked very different indeed, had dune 2 kept to its original release date. the movie was delayed for several months due to the actors' strike, meaning it was unable to compete in this year's competition. what do we want? all: contracts! last year's strikes could actually end up having a big impact on the 2025

academy awards. there are going to be less movies this year. they're going to be bigger ones. i think studios are really going to dominate, but we won't have as many obvious choices in the running. but that will allow more populist titles that we saw, like barbie and oppenheimer, to make in. so we havejoker 2 coming out at the end of the year. lady gaga and joaquin phoenix. they're going to be reprising his oscar—winning role, and it's a musical. i don't know how we all don't just line up to see that and it doesn't make a billion dollars. are you not entertained? continuing hollywood's love of sequels, 2a years after the original... ridley scott, everybody. ..director ridley scott re—enters the world of gladiator with gladiator 2. paul mescal replaces russell crowe as the film's lead. you want to see the frontier? yes, sir. before it's gone. 3a years after dances with wolves, kevin costner

returns to his favourite genre, the western. used that much this year? haven't had much need of it yet. costner is reportedly putting his own money into the project, with another three films promised in his horizon saga. another elder statesman of cinema is george miller. best known for his mad max saga, he continues that world with the eagerly awaited furiosa. do you have it in you to make it epic? you will rise... for many, fury road was one of the best films of 2015. ..from the ashes... and audiences will be keen to see if miller can once again provide a supercharged cinema experience. george miller has not won a directing oscar yet. mad max: fury road and dune are two of six movies in the entire history of the academy awards that were nominated in every single technical category, every single one.

next year, their sequels are going up against each other. someone who has won the best director prize, parasite�*s bong joon—ho, also returns to the big screen with his latest work, mickey 17, starring robert pattinson. i could go on, but that'sjust a small sample of some films that have us already looking forward to the next 12 months at the cinema, and counting down the days until next year's oscars ceremony. well, now, thanks to al, we all know who's going to win oscars next year. anyway, al, staying with this year, what, to your mind, was the highlight of the oscars? i had a couple. i think a really great moment for me was godzilla minus one winning the visual effects. they beat out a lot of bigger films with bigger budgets. and cillian murphy winning best actor for oppenheimer. clearly, i'm a bit biased, being irish, but what a fantastic moment that was.

yeah, those are both great moments. and how about you, emma? i mean, actually, i know you're a barbie person. so, tell me, what was one of your highlights? it really has to be barbie. i think the whole cast and greta gerwig brought so much fun to the evening. and the oscars really, really needed that kind of levity. and then, of course, my highlight of the oscars ever is ryan gosling and slash performing i'm just ken. # ken...# more than kenough. and i think, you know, gosling owned the oscars. he won the oscars. i agree with you. anyway, that's all for the talking movies oscars review special from hollywood. and we're going to leave you with the song that won an oscar. # when did it end? # all the enjoyment # i'm sad again # don't tell my boyfriend # it's not what he's made for # what was i made for?

#cos| # i don't know how to feel # but i wanna try...# hello there. the first thing to say is that there's no prolonged spell of dry weather on the way just yet. indeed, over the next few days, as we pull in milder air on a south to south—westerly wind, so we're going to find some further spells of rain on some more weather fronts. and we've seen cloud and rain pushing in from the west during saturday, continuing through saturday night, so that by the time we get

into sunday morning, we've got the rain still across the midlands and eastern parts of england. it should move away fairly quickly. so, it's an improving sort of day on sunday, with the cloud breaking, sunny spells coming through, a few showers here and there, mainly for the northern half of the uk, and they could well be a little heavy later on. but it's milder air that we're moving into on sunday. temperatures will be higher across the board by something like three or four degrees, compared with saturday. and in that milder air on sunday night, we're going to find a couple of weakening weather fronts moving eastwards across the uk. they won't bring much rain at all, and once that moves away, so we'll see the cloud breaking, sunshine coming through. many places, dry for a while on monday, but the next weather system is arriving in from the atlantic, bringing rain, particularly into northern ireland, strengthening the winds here through the irish sea and into western—most parts of scotland. but because it's a southerly wind, those temperatures are going to be above normal for the time of year. winds coming then from a long

way south, lifting those temperatures, but bringing the threat of some further spells of rain ahead of this next weather system, which will bring some rain overnight, mainly for the northern half of the uk, and then clear away northwards with the low on tuesday. a few showers will follow and then the cloud should break up. many places will become dry. but we've got this rain hanging about here along the south of england, particularly in the south—west. those temperatures aren't changing too much, so we're still sitting at 15 or 16 degrees. quite a bit of uncertainty, though, perhaps as we head into wednesday because the weather is slowing down. we've got a wave forming along the weather front, an area of low pressure, in actualfact, which slows it all down. and we'll see the rain moving back northwards again across the uk, maybe bringing some snow to the scottish mountains. don't take those details too literally. things could change a bit. at the moment, it looks a bit drier for northern ireland and also across the south—east of england. and we may not get too much rain here because the wetter weather is going to pull away

out into the north sea and away by the time we get to thursday, allowing the next weather system to come in from the atlantic, together with some stronger winds. now, the winds on thursday — to begin with, at least — will be light still, and then we get the winds picking up in the north and west, together with some patchy rain coming in from the atlantic to the south—east. still looking generally dry, and temperatures peaking at 15 degrees. now, as we head to the end of the week, it looks like it's going to be turning quite windy, but the wind direction changing and we're going to push away that mild air. things are going to be a bit colder, i think, by the end of the week and into the start of the weekend. low pressure to the north of the uk. the jet stream position here will dip to the south, allowing that colder air to come in. and then, as we head into the start of the following week, thejet moves back to the north again, steers areas of low pressure to the north of the uk. so northern areas seeing most of the rain and we may briefly start to see that milder weather returning. but things still unsettled

certainly for the outlook.

live from washington, this is bbc news. russia has accused ukraine of disrupting its presidential elections — a ballot where president putin has quashed all real opposition. among those voting are russians living in the estonian border town of narva. the bbc speaks with the country's prime minister about russian

aggression in ukraine. and donald trump makes his first major campaign stop since becoming the presumptive republican nominee for president. iam i am helena iam helena humphrey. it is good to have you with us. russia has accused ukraine of disrupting its presidential elections. voters headed to the polls on the second day of a three—day election that is almost certain to result in victory for incumbent president vladimir putin. but moscow said ukraine is "intensifying its terrorist activities" to signal to the west it needs more financial assistance and weaponry. russian authorities say two people were killed by ukrainian shelling in the city of belgorod near the border with ukraine. shops and schools were closed in the city. authorities also reported shelling at a voting station in a russian—occupied part of ukraine's zaporizhzhia region. the head of russia's electoral commission said there have been 20 incidents so far of people targeting ballot boxes. protests are likely to continue

on sunday, when supporters of the late opposition leader alexei navalny are calling