JOHANNESBURG -- The dealer had a stash, but the young woman wasn't getting through the door without an introduction. That's where her friend, already a trusted customer, came in. And even then there were complications.The woman wanted Stuyvesants. The dealer had Courtleighs. But in a South Africa where the sale of cigarettes is newly illegal, quibblers risk nicotine fits.She took the Courtleighs and high-tailed it out of there."I feel like I'm buying cocaine," said the woman, 29, who asked not to be named for fear of being fined or arrested.In late March, in the midst of the coronavirus outbreak, the South African government banned the sale of tobacco and alcohol as part of a broad lockdown -- one of the strictest anywhere. But even as the government has begun rolling back the lockdown, the bans remain in effect.A government minister, Nkosazana Dlamini-Zuma, cited "COVID-19 reasons" for maintaining the ban.Dlamini-Zuma, a doctor who served as health minister in the 1990s and is now cooperative governance minister, said that "besides the effects itself on the person's lungs," there were concerns that smoking could promote coronavirus infection."The way sometimes tobacco is shared does not allow for social distancing," she said, "but actually encourages the spread of the virus."Defending the ban of alcohol sales amid cries of protest from the liquor industry, President Cyril Ramaphosa said alcohol was "a hindrance to the fight against coronavirus.""There are proven links between the sale and consumption of alcohol and violent crime, motor vehicle accidents and other medical emergencies at a time when all public and private resources should be preparing to receive and treat vast numbers of COVID-19 patients," the president said in a statement.The government has also cited the risk of domestic violence in households where families are isolated at home.Perhaps not surprisingly, an underground market in both cigarettes and alcohol quickly sprung up.Like bootleg markets everywhere, it relies on word-of-mouth, as the 29-year-old woman who settled for the Courtleighs soon learned.She made her purchase in a suburb of Vereeniging, a city south of Johannesburg, where dealers are said to sell only to buyers referred by someone they know. And they sell only from their homes to avoid driving around with large quantities of cigarettes, since if they were to be caught at one of the dozens of police roadblocks set up around the country, they could be arrested on the spot.Instead, the smoker carries the risk -- and the cost. A pack of 20 cigarettes now goes for upward of 150 rand (about $8), three times the old legal price. Underground alcohol prices have also skyrocketed. A bottle of low-end vodka that usually sells for 120 rand ($6) now sells for at least 400 rand ($21).South Africa lifted its nationwide lockdown on May 1 but is continuing to implement strict social distancing and face mask rules. Already under siege from HIV, the country has around 8,200 confirmed cases of the coronavirus and has reported about 160 deaths.The country had implemented one of the world's most stringent lockdowns after recording its first coronavirus-related death in March. In addition to banning the sale of cigarettes and alcohol, the regulations banned jogging and dog-walking, and shuttered parks.Before the lockdown, with a ban looming, some smokers stocked up on cartons of cigarettes. But when the ban on cigarettes was extended beyond May 1, things for smokers began to grow tense.Now it's a matter of who you know. The cafe owner willing to slip a box under a container of milk, perhaps, or a supermarket cashier willing to steal and resell cigarettes languishing in the storeroom.In one Pretoria township where everyone knows everyone -- including the police -- few dare sell cigarettes from their homes. Instead, dealers hide among young men milling around on the neighborhood corner.A 23-year-old smoker said that when he saw a group of four men sharing a cigarette, he approached them to find out where they had found the contraband. They just so happened to be selling, they told him.Desperate after a failed attempt to quit smoking, he said, he paid 160 rand for his favorite brand and "ran home," where he took a photograph of the sealed pack, planning to share it on WhatsApp with envious fellow smokers.But when he opened the pack, a cloud of sawdust choked him. There was not a cigarette to be found.Smokers say they are finding fake cigarettes in sealed boxes that look exactly like legitimate brands. And those who are desperate enough are buying unknown brands that have appeared during the lockdown, with names like Pineapple and Chestel, and are notorious for inducing immediate coughing.The tobacco industry has not taken kindly to the government's new policy.The ban has fueled an underground cigarette trade that was thriving even before the lockdown. By some estimates, it made up more than 30% of the market, depriving the above-ground tobacco industry of profit and the government of tax revenue.Now both industry and government are losing even more.The country's largest cigarette manufacturer, British American Tobacco South Africa, at one point threatened legal action if the government did not drop its ban, but Wednesday changed course. "We have taken the decision not to pursue legal action at this stage," it said in a statement, "but, instead, to pursue further discussions with government."The company said, "We are convinced that by working together we can find a better solution that works for all South Africans and removes the threat of criminal sanction from 11 million tobacco consumers in the country."The ban on cigarettes and alcohol has set off a debate on civil liberties in a country with one of the world's most liberal constitutions. While South Africa was an early adopter of public smoking regulations, many see the bans as a symbol of government overreach.Though its coronavirus policies may have succeeded in keeping the outbreak in check, some are calling the government hypocritical. Junk food remains readily available. And officials strictly limited outdoor exercise during the lockdown.In a country increasingly struggling with diabetes and obesity, such inconsistencies undercut the government's argument that it is guarding the public's health, said one South African constitutional law expert, Pierre De Vos."In the long term, if the government overreaches and it wants to continue imposing these limits when the threat has subsided, I think the courts will invalidate this," he said.Still, the ban may have yielded at least one former smoker: the man who bought the box of sawdust."I cannot just go around losing money like that," he said. "I just said to myself, 'Nah, man, it's not worth it. I'll stay home and eat sweets, as that's what's legal now.'"This article originally appeared in The New York Times.(C) 2020 The New York Times Company

BRUNSWICK, Ga. -- When the Glynn County Police Department arrived at the scene of a fatal shooting in February in southeastern Georgia, officers encountered a former colleague with the victim's blood on his hands.They took down his version of events and let him and his adult son, who had fired the shots, go home.Later that day, Wanda Cooper, the mother of the 25-year-old victim, Ahmaud Arbery, received a call from a police investigator. She recounted later that the investigator said her son had been involved in a burglary and was killed by "the homeowner," an inaccurate version of what had happened.More than two months after that fatal confrontation, the Georgia Bureau of Investigation, which took over the case this week, arrested the former officer, Gregory McMichael, and his son, Travis McMichael, on charges of murder and aggravated assault.The charges -- which came after the release of a graphic video showing the killing as the two white men confront Arbery, who was African American -- made clear the depths of the local department's bungling of the case, which was just the latest in a series of troubling episodes involving its officers.And it was one element of the broader potential breakdown of the justice system in South Georgia. Attorney General Chris Carr, through a spokeswoman, said Friday that he planned to start a review of all of the relevant players in that system.Carr's office has already determined that George E. Barnhill, a district attorney who was assigned the case in February but recused himself late last month, should have never taken it on. Among his many conflicts: His son once worked alongside one of the suspects at the local prosecutor's office.S. Lee Merritt, a lawyer representing Arbery's family, has called for a federal civil rights investigation focused not only on the men who pursued Arbery but also the broader justice system."It's small-town America," Merritt said in an interview Thursday. "Those counties, the law enforcement community there, they know each other well; they recycle officers in between themselves -- it's a very tight-knit community."Over the years, Glynn County police officers have been accused of covering up allegations of misconduct, tampering with a crime scene, interfering in an investigation of a police shooting and retaliating against fellow officers who cooperated with outside investigators.The police chief was indicted days after Arbery's killing on charges related to an alleged cover-up of an officer's sexual relationship with an informant. The chief, John Powell, had been hired to clean up the department, which the Glynn County manager described last fall as suffering from poor training, outdated policies and "a culture of cronyism."The Glynn County force was the sort of department where disciplinary records went missing and where evidence room standards were not maintained, leading the state to strip it of its accreditation.Arbery was killed after the McMichaels confronted him while he was running in the Satilla Shores neighborhood just outside of Brunswick, the Glynn County seat. But neither of the McMichaels was arrested immediately after the slaying, which occurred Feb. 23 about 1 p.m.According to a police report, Gregory McMichael said that he saw Arbery running through his neighborhood and thought that he looked like the suspect in a rash of recent break-ins. McMichael, 64, told authorities that he and his son, Travis McMichael, 34, armed themselves and began chasing him in a truck.Gregory McMichael had been a Glynn County police officer from 1982 to 1989 and later worked as an investigator in the local prosecutor's office, before retiring last year.Darren W. Penn, a lawyer and a department critic, said the Ahmaud Arbery case was "another symptom or sign of a police department that appears willing to protect those that they know."Penn is representing a woman who is suing the department over claims that it failed to intervene with her estranged son-in-law, a Glynn County officer, who killed her daughter, a friend and himself in 2018.County officials and a police spokesman could not be reached Friday for comment.From the start, McMichael's connections to the police department and the prosecutor's office presented other challenges.The first district attorney assigned to the case, Jackie Johnson, recused herself because she had worked with McMichael. The second prosecutor, Barnhill, advised Glynn County police that there was "insufficient probable cause" to issue arrest warrants, according to an internal document.Finally, the case moved to Tom Durden, the district attorney in Georgia's Atlantic Judicial Circuit in Hinesville, who this week formally asked the state bureau of investigation to get involved, according to a GBI statement. A Justice Department spokesperson said this week that the FBI was assisting in the investigation.Bob Coleman, a county commissioner at large, was critical of Johnson, saying she should have given the case to the state attorney general, not Barnhill. After the Georgia Bureau of Investigation made arrests this week, Coleman said, "That's what should have happened a long time ago before the sun went down. They killed a person in the bright sunlight."Glynn County is a marshy coastal corner of Georgia about 300 miles southeast of Atlanta with about 85,000 residents, and is known mostly for its mellow barrier islands and its rich African American coastal culture.Like many Southern communities, its history is studded with racial violence, including three late 19th-century lynchings. Today, the county is about 70% white and 27% black, according to census figures.On Friday, hundreds gathered under the moss-draped trees outside the Glynn County courthouse to protest, arguing that the handling of the case had been botched as months went by without charges."I will never call the Glynn County police to my house!" one of Arbery's aunts said.Mario Baggs, a lifelong resident of Brunswick, said he believed that race was a factor in Arbery's killing, given the unfair treatment black men have long received."The black man is an endangered species," Baggs, 46, said. "We need justice; we need relief; we need the world to pay attention."Yet he also believed that Arbery's case fit into a larger pattern of dysfunction.Over the last decade, the Glynn County Police Department, which has 122 officers, has faced at least 17 lawsuits, including allegations of illegal search and seizure.One suit accused the department of wrongfully killing an unarmed white woman after officers fired through her car windshield. An investigation into that shooting found that Glynn County officers had tried to interfere with the inquiry to protect the officers involved.One of the officers in that shooting later killed his estranged wife and a friend. The wife's mother accused police of ignoring several alarming encounters in the months before the killings.Powell, the police chief, was arrested this year along with three other department officials after an investigation into a disbanded narcotics task force. The inquiry found that Powell had actively tried to shield wrongdoing by the task force. That led to his indictment on charges including violating the oath of office, criminal attempt to commit a felony and influencing a witness.As details of Arbery's death slowly emerged and were reported in The Brunswick News, Arbery's mother, increasingly distraught, called the department. She said that she had been told one thing but that the newspaper had reported something else entirely.Cooper's faith was shaken. "It's hard when you can't really believe what authority tells you, you know?" she said. "When you just cannot believe the people that's supposed to look out for all people. And when you question that, it's not a good feeling."Attempts to reach Gregory McMichael late last month were unsuccessful. In a brief phone conversation late last month, Travis McMichael, who runs a company that gives custom boat tours, declined to comment, citing the continuing investigation.The two men made a brief appearance in Glynn County Magistrate Court on Friday afternoon, but court officials said they did not enter a plea. No information about their lawyers was immediately available.Questions about the handling of Arbery's case extend beyond the police department and to Barnhill, the prosecutor who told police that there was insufficient probable cause to arrest the McMichaels.In an email Barnhill wrote to the state attorney general's office April 7, he asked to be taken off the case, stating that his son, an assistant district attorney in the Brunswick prosecutor's office, had handled a felony probation revocation case involving Arbery. He also said Gregory McMichael had helped with "a previous prosecution of Arbery."Court records show that Arbery was convicted of shoplifting and of violating probation in 2018; according to local news reports, he was indicted five years earlier for taking a handgun to a basketball game.Barnhill's office most recently drew attention beyond south Georgia for its prosecution of a black woman in rural Coffee County who had helped a first-time voter use a voting machine in the 2012 election. In 2018, a jury found the woman not guilty of multiple felonies. Her lawyers called the case "a racially motivated targeted prosecution."J. Peter Murphy, a Glynn County commissioner, on Friday defended the Police Department's decision to make no arrests in the shooting of Arbery. Murphy said the agency had been advised not to make arrests by both Barnhill and officials at the office of Johnson, the district attorney in Brunswick who formally asked to be taken off the case four days after the shooting. Neither prosecutor could be reached for comment."Tell me what the agency did wrong when its men and women were told several times not to arrest anyone?" Murphy said, referring to police. "What were they supposed to do? Cuff these guys and walk them into the jail and have no one prosecute them?"This article originally appeared in The New York Times.(C) 2020 The New York Times Company

• France Galop lobbied Emmanuel Macron for go-ahead
• Longchamp one of three meetings to take place on Monday

France Galop, the ruling body of French racing, confirmed on Saturday it will resume with meetings at Longchamp, Toulouse and Compiegne on Monday, but only after what is believed to have been urgent behind-the-scenes lobbying by Edouard de Rothschild, FG’s president, late on Friday night that persuaded Emmanuel Macron, the French president, to finally give his approval to the resumption.

De Rothschild thanked Macron and Édouard Philippe, France’s prime minister, for their efforts in a tweet in the early hours of Saturday morning that confirmed racing had seen off last-minute objections to its return.

To campaigners’ dismay, the UK’s biggest hubs, Heathrow and Gatwick, are pushing on with plans to increase capacity

Christine Taylor has lived her entire life in the shadow of London’s Heathrow airport, her childhood bedroom affording a view of one of its two runways. She grew up in Sipson, a village that can trace its history back more than 1,000 years, but now sits immediately north of Britain’s busiest airline hub.

Now living a mile to the east in Harlington, Taylor, 62, is experiencing a rare moment of quiet, thanks to the dramatic reduction in air traffic caused by the coronavirus pandemic.

Desmond Mombeyarara, 34, was with his son when officers shot him with a stun gun

Anti-racism protesters have gathered outside a petrol station in Greater Manchester to demonstrate against the stun gun shooting by police of a black man in the company of his distressed son.

Desmond Mombeyarara, 34, was shot with a stun gun by police on Wednesday evening after officers stopped him for allegedly speeding.

MP called for love to be added to list of permitted reasons for long-distance journeys

• Coronavirus – latest updates
• See all our coronavirus coverage

Couples separated by France’s strict coronavirus rules will remain lovelorn after ministers ruled out a proposed change to the law extending the country’s state of health emergency.

The “lovers’ amendment”, as it was called, was proposed by an MP during a debate on the legislation in the lower house the national assembly.

Meanwhile police in London say they’re ‘losing the battle’ as people gather in parks despite coronavirus clockdown

• Coronavirus – latest updates
• See all our coronavirus coverage

The coastguard has urged the public not to ignore the government’s stay-at-home message after recording its highest number of distress calls in a single day since the lockdown began.

The rescue service said it dealt with 97 incidents on Friday, more than half the daily average over the previous month.

Once the ‘go-to guy for feckless losers’, the actor is now spearheading Apple’s assault on British TV. He talks about flops, racism, chest hair – and Laurence Fox

In October 2005, Rafe Spall was starring in the role he thought he was born to play. Only 21 at the time, he’d bagged a part in Anna Mackmin’s reimagining of Francis Beaumont’s 1607 comedy The Knight of the Burning Pestle at the Barbican. The play isn’t just any old Renaissance play in the Spall household, it’s a hallowed text.

His father (Timothy Spall, you might have heard of him) had played the same part in a 1981 RSC version that changed his life for ever. It was while playing that role he met his wife, Shane, and the pair loved the play so much they decided to give their first child the name of the character his father played: Rafe. To make it seem even more preordained, it was Rafe’s grandmother’s favourite ever performance by his father. No pressure, then.

He’s played a revolutionary hero, a horny teen – now Gael García Bernal is a reptilian choreographer in Ema, and locked down in Mexico city. Just don’t ask him to move to LA when all this is over

At the start of the century, the director Alfonso Cuarón was casting Y Tu Mamá También, the bawdy but plangent road movie he had written with his brother Carlos about two oversexed Mexican teenagers, the wealthy Tenoch and his poorer, grungier friend Julio. “Alfonso called me very excitedly,” recalls Carlos Cuarón. “He said: ‘I know who’s going to play Julio! I’ve seen him in Alejandro’s movie.’” Alejandro González Iñárritu, that is, whose ferocious dog-fighting drama Amores Perros was about to be released. “I said: ‘No, no, I’ve found Julio; I saw the perfect actor in this short film, De Tripas, Corazón. He’s incredible: his eyes, the way he manages silence ...’”

Eventually, the brothers realised they were talking about the same person: Gael García Bernal, who was then just 21. The son of theatre actors, he had become a star in his early teens on the Mexican soap opera El Abuelo y Yo (Grandpa and I) before decamping to London to study at the Royal Central School of Speech and Drama. Iñárritu plucked him out mid-term for Amores Perros and he stole that movie as the twitchy-hipped tearaway who was every bit as feral as his champion rottweiler. His mutable features could switch from cherubic to lupine to gravely smouldering; his nerve endings felt exposed like frayed electrical wires.

She’s acted, modelled, worked with Kanye West and Drake. But the Black-ish star didn’t dare follow her mother, Diana Ross – until now

There is a strange noise coming from Tracee Ellis Ross’s Los Angeles garden. Hang on, she says, looking away from her computer screen to the window with an alarmed expression. “I’m just going to go check that out. Stand by!”

If this were a horror movie, then the stylish woman disappearing into the distance would never come back. But it isn’t a horror movie, it’s a Zoom interview, and Ross, a Golden Globe-winning actor best known for her role in the US sitcom Black-ish, is talking to me from the sunny living room of her home. Or at least she was; right now, I’m staring at a fiddle-leaf fig tree and a comfortable-looking couch.

In Céline Sciamma’s Portrait of a Lady on Fire, we finally steer away from seeing intimacy through the male gaze

The portrayal of lesbians in mainstream cinema tends to involve prosthetic vaginas and gratuitous sex scenes; so Céline Sciamma’s Portrait of a Lady on Fire comes as a breath of fresh air. It is the story of the burgeoning relationship between two young women – emancipated artist Marianne (Noémie Merlant), who is commissioned to paint a portrait of sexually repressed Héloïse (Adèle Haenel), leading to a heated romance.

On paper, it looks like the classic lesbian cinematic narrative – there is a buildup of tension, they finally kiss, and then their possibility of a future together seems doomed. However, what makes Portrait of a Lady on Fire different is its heightened self-awareness. The film is constructed with lesbian representation in mind through careful interrogation of the lesbian gaze. There is a lot of looking. Marianne looks at Héloïse because she has to secretly paint her, and Héloïse looks at Marianne out of curiosity. Eventually, there is a shift in the way they start looking at each other – out of desire.

Staff of the magazine that kicked off the French New Wave say its new elite owners pose a threat to editorial independence

The mass resignation of the staff of Cahiers du Cinéma, the film journal that launched the French New Wave, has reignited debate in France about the possibility of critical independence in a society whose major stakeholders frequently operate in several spheres.

On Thursday, the 15 staff writers and editors announced their resignation, saying they believed its new owners posed a threat to the magazine’s cherished independence.

The actor said wearing a fat suit for the 2001 movie taught her what it is like to be humiliated as an obese person. Why are TV and film characters so rarely treated with dignity and respect?

‘Disaster” is how Gwyneth Paltrow has summed up her role in the 2001 film Shallow Hal, which will surprise few people who have actually seen it. Jack Black plays Hal, a man so shallow he has to be hypnotised in order to date a fat woman, who, through his boggled eyes, he sees as a very thin woman.

The nastiness of Shallow Hal, which has long appalled critics and fans alike, was front and centre in the trailer, where Hal’s friend attempts to “rescue” him from speaking to a fat woman, Rosemary, who is, in fact, willowy Paltrow dressed in a fat suit. But because he cannot see what she looks like, he falls for her “inner beauty”. It is an uncomfortable mix – a film that pretends to preach body acceptance while simultaneously inviting laughter at bodies that don’t fit into jeans size six and under. Take the scene where she is called a “rhino”, or the one where she cannonballs into a swimming pool causing a tidal wave. The message built into the script’s DNA is simple: fat is funny; it is OK to laugh at fat people.

From his fateful game of chess to a moving turn in The Diving Bell and the Butterfly, Von Sydow was the last standard bearer of Bergman’s high-minded movie idiom

•Max von Sydow dies aged 90
•A life in pictures

The opening of the seventh seal in the Book of Revelation, disclosing the truth of God’s existence and the second coming, will result in a mysterious silence in the kingdom of heaven – then the sound of trumpets and the thunderous uproar of Earth’s apocalyptic ending. In the movies, no actor has ever represented these ideas more seriously, nor shown humanity’s anguish in the face of God’s implacable silence or unassuageable anger more clearly, than Max von Sydow. He was virtually a book of revelation in himself.

The passionate severity of Von Sydow – and his ability to impersonate the ascetic nobility of some impossibly remote priestly or knightly order but with very human flaws – formed the bedrock of Ingmar Bergman’s The Seventh Seal and the staggering series of films he was to make with Bergman in the 1950s and 1960s. Beyond that, he virtually epitomised an entire, distinctively high-minded attitude to cinematic art in Europe. His films for Bergman were composed in a movie idiom that drew on Ibsen and Strindberg, Sjöström and Dreyer – and of which, since Bergman’s death in 2007, Von Sydow could be said to be the final standard bearer.

SBS On Demand is streaming more than 10 hours of his features. Our isolated film critic took the bait and watched them all

Many terrible things are discussed in the maelstrom of mayhem and misery I call my inbox – terrible, terrible things, such as requests involving me needing to go somewhere, or speak to someone or do something.

But last Thursday afternoon a lovely email broke through like a ray of sunshine piercing grey clouds on a stormy day. It was an email from a publicist at SBS. The subject line read: “Binge 627 minutes of ADAM DRIVER for free.”

Hollywood loves a good comeback, and post-coronavirus will be no exception, writes costume designer Kristin M Burke

Many events have killed the film industry: the 1918 influenza epidemic, the second world war, the invention of television, the invention of VCRs, the invention of the internet, 9-11, strike after strike after strike. And yet, like a phoenix, it rises, every time stronger than before. The appetite for its product is insatiable especially in times of political trouble and uncertainty about the future. People want to escape. They want to be entertained.

The way we make movies most certainly must change. In the best of circumstances, we are a crew of 75 people jammed into a room with very little ventilation, holding our breath until we hear “CUT”. We are in close contact with one another all day long. We never really thought about it before. All of that is about to change. Film sets usually function as big families, and moving forward, that family unit will take on a stronger, protective meaning. This is how we self-regulate in the post-pandemic era.

Alan Yang’s film about the lack of understanding between generations strikes a chord, and is so relevant as coronavirus racism spreads

• Read all the Lockdown watch films here
• The best arts and entertainment during self-isolation

Inflamed by President Trump’s casual phrase “Chinese virus”, anti-Asian sentiment is erupting all over the world. As a British-Vietnamese person who has been spat on because of the colour of her skin, the film Tigertail is a glimmer of hope – a way of showing the truth, and connecting Asian communities at a time when panic and misinformation serve to break us apart. Alan Yang’s multi-generational love story Tigertail weaves in Yang’s cultural self-discovery and features memories of Taiwan, as experienced by the protagonist Pin-Jui. Weighted against the present tide of anti-Asian bigotry, this tender story about honesty and lost love is more relevant than ever.

“American culture has been negligent in portraying Asian-American people as fully realised human beings,” Yang told the Deadline podcast. Yang, who worked on Parks and Recreation before co-creating Master of None, recalled the trepidation he felt in the early days of his career, in a cultural landscape where east Asians were rarely represented, or stereotyped as hardworking automatons. Yang said he had felt restricted to using only white characters in his early pilots, fearing that all-Asian or Asian-American scripts would never be accepted. But this was before the film successes of Crazy Rich Asians, The Farewell and Parasite brought real Asian faces to mainstream culture.

In the wake of Covid-19, We Are One: A Global Film Festival is taking the experience online. But cinema is a bigger encounter

Every year, at Cannes (and other festivals) there’s a plaintive argument about what Cannes (or other festivals) are really all “about”. Some Savonarola-type person will dash the glass of rosé out of your hand, throw your canape into the Med and tell you Cannes is not about red-carpet narcissism, not about stars preening in the flashbulb glare of celeb-worship, not about L’Oréal sponsorship, not about getting drunk at a million late-night parties. It’s about the movies, about cinema itself.

Of course. And that’s what the new Covid-19-related We Are One: A Global Film Festival appears to offer: the 10-day online festival, beginning 29 May, curated by Jane Rosenthal of the Tribeca film festival, featuring arthouse films (though not the big-ticket Hollywood items) from Cannes, Venice, Berlin and many more, streaming for free in return for an optional donation to the World Health Organization’s Covid-19 fund. So there you have it. A festival with all the frills and extras and flummeries stripped away. Just you, in your bedroom, with your laptop, communing with cinema. Isn’t that what it’s all about?

With cinemas closed and major titles delaying their release, the Academy has changed its rules to welcome some streaming titles. Will they regret it?

‘What about the Oscars?” might not be the question at the top of your mind as you consider the manifold uncertainties raised by the coronavirus pandemic. A Hollywood awards ceremony scheduled for the end of February 2021, one might think, has fewer immediate concerns than most cultural institutions do right now. Yet panic has been rising within the Academy: the show itself may go on, but with cinemas closed for the foreseeable future and dozens of major titles either rescheduling or indefinitely delaying their release dates, will it have have enough standout films to celebrate?

For some weeks now, the joke around the industry has been that Leigh Whannell’s hit psychothriller The Invisible Man – one of the few popular and critical successes to be released in the year’s early months – may as well collect its gongs now. But a crucial rule change announced on Tuesday by Academy CEO Dawn Hudson and president David Rubin has ensured that it will face some competition after all, even if its rivals never see the inside of a cinema.

Ed Pilkington looks ahead to Weinstein’s court battle where he faces charges of rape and sexual assault, which he denies. And Jamie Grierson on why counter-terror police have listed Extinction Rebellion as a ‘key threat’

The film producer Harvey Weinstein will stand trial this week in New York City accused of five charges, including rape and sexual assault. Weinstein denies all allegations. The trial, expected to last about six weeks, will focus on the witness accounts of two alleged victims who claim they were assaulted by Weinstein.

The Guardian’s Ed Pilkington has been in court for the jury selection process in which 2,000 potential jurors were whittled down to 12 who will decide Weinstein’s fate. He tells Anushka Asthana that the case will cause a sensation in the US and around the world, but that it should not be seen as #MeToo on trial.

Like dozens of women in the entertainment industry, the actor, model and writer Zoë Brock has claimed she had a traumatic encounter with the film producer Harvey Weinstein. Now she is faced with a settlement offer that she believes would allow him to escape blame for the alleged assaults. Also today: Lily Kuo on the spread of the deadly coronavirus in China

The actor, model and writer Zoë Brock was on a retreat in the New Zealand bush in 2017 when an email pinged into her inbox. It was from a friend sending a link to a breaking news story of allegations against Harvey Weinstein. The claims from several women against the film producer were eerily familiar to an incident that Brock alleges happened to her.

This week, Weinstein goes on trial charged with rape and sexual assault. But for dozens of women with claims against him, their only recourse is to civil courts. Brock tells Anushka Asthana that while she is part of the class action suit against Weinstein, she is deeply unhappy with the terms of the proposed settlement, which she believes would allow him to accept no blame for the allegations.

Donald Trump takes a jab at the South Korean film Parasite, best picture at this year's Oscars, telling supporters in Colorado that the US has 'enough problems with South Korea', and: ‘Can we get Gone With the Wind back?’ He also dismisses Brad Pitt, who – during his Oscars speech said his 45-second slot was more than John Bolton received at the US president's Senate impeachment trial. Trump calls the actor a 'little wise guy'

• Parasite's best picture Oscar could kickstart a new era of internationalism
  

Ad-Rock and Mike D host a convivial trip down memory lane in this filmed record of a live show staged in tribute to third member Adam Yauch

The release of this documentary coincides with #MeAt20, a heart-twisting craze on social media for posting pictures of yourself at 20 years old. Middle-aged people’s timelines are speckled with funny, sweet and sometimes unbearably sad images of themselves in unlined, unformed youth, doing goofy things in milky analogue pictures from back when you had 12 or 24 exposures on your roll-film camera and getting them developed at Boots was a pricey business. That’s what I thought of while watching this engaging, oddly moving film from Spike Jonze: a record of the live stage show he devised at the Kings Theatre in Brooklyn, New York, in tribute to white hip-hop stars and tongue-in-cheek party-libertarian activists the Beastie Boys. It is presented by the two surviving members, Adam Horovitz and Michael Diamond, in tribute to the third member, Adam Yauch, who died of cancer in 2012. Jonze is reuniting with the band after having directed a string of their music videos, including the crime-TV spoof for their single Sabotage in 1994.

Horovitz and Diamond amble on stage, apparently dressed head-to-toe in Gap, and appear for all the world to be about to unveil the iPhone 4S, although actually their jokey anecdotalism makes the show in some ways like the regional tours once presented by George Best and Rodney Marsh. With amiably rehearsed back-and-forth banter, they introduce the embarrassing photos and excruciating TV clips that are shown on a big screen. And the effect of seeing them juxtaposed with the plump-faced frizzy-haired imps of 1986 is startling and bizarre. In the present day, the advancing years seem to have boiled away the badass attitude, leaving behind the quirky humour.

A manic pre-summer caper skirts near dark territory but remains a mostly kid-friendly tale of an unusual family

A year after Sony’s wonderfully inventive Into the Spider-Verse became the first non-Pixar/Disney/Dreamworks film to win the best animated feature Oscar since 2011, the race was again populated by outliers. Frozen 2 was snubbed and instead Laika crept back into the spotlight with Missing Link (after winning the Golden Globe) and Netflix snuck in with two originals – Klaus and I Lost My Body – marking the streamer’s first time breaking into the pack. While Toy Story 4 might have ultimately won out, the lineup continued to reflect both a widening field and an embrace of more left-field choices, a much-needed jolt of energy in what used to be a two-horse race.

Related: Trolls World Tour review – eyeball-frazzling sequel offers same again

A visually distinctive, semi-effective Canadian thriller pits a First Nation community against a zombie invasion

Given how movies about the undead refuse to die, a tweak on what’s become a decaying formula is always a welcome surprise, especially if said tweak involves a little more than “what about zombies but strippers”. Back in the 60s, and at rare times since, the zombie subgenre has been used as a way of sneaking social commentary into horror, the set-up of an invading force destroying a community allowing for a range of sly metaphors.

Related: 'I'm indigenizing zombies': behind gory First Nation horror Blood Quantum

This heartwarming documentary traces the lives of a baseball star and her partner, now in their 90s, who pretended to be ‘just good friends’ for decades

This documentary from Netflix is a real heart-soother. Directed with tremendous sensitivity and intimacy by Chris Bolan, it’s a love story about two women now in their 90s – Terry Donahue and Pat Henschel, who have been together since the 1940s.

For decades they kept up the pretence of being “just good friends” to their families before finally coming out a few years ago. Talking to outsiders, they still describe each other as “cousins”. The legacy of shame and fear among older people in the gay community is explored in the film, but the overwhelming mood here is love.

A ridiculously titled film about a couple who stumble upon a stash of money is absurd and cliched but mostly entertaining

One of the most surprising reveals of last October’s unprecedented Netflix data dump was the astounding popularity of cheap psycho-thriller Secret Obsession. While the streamer proudly touted new films from Alfonso Cuarón, Paul Greengrass and the Coens in the same period, it was a no-star, dim-plotted slab of schlock that netted more viewers, with an estimated 40m households eager to find out just how secret that obsession really was. Modelled after a Lifetime TV movie (with a Lifetime TV director at the helm), it was an important victory for Netflix because it revealed a substantial audience for tiny-budgeted thrillers with generic titles, a bracket they could easily fill at little expense.

Related: The Half of It review – charming Netflix teen comedy takes on Cyrano

A talented trio of young actors enliven a familiar yet engaging tale of a queer love triangle at high school

There’s a satisfying ease to Netflix high school comedy The Half of It, a charming twist on the Cyrano de Bergerac formula that deserves slightly more attention than most of the streamer’s other made-to-order sleepover pics. A teen market that had been underserved by studios has now been exhaustively cornered by the company but often without much care or inventiveness, a conveyor belt of content that prioritises quantity over quality. It’s refreshing then to see a film such as this emerge from the same production line, slickly ticking all the same boxes but with a noticeable uplift in enthusiasm, grafting its own identity on to the boilerplate format.

Related: Never Have I Ever review – Netflix teen series slowly finds its voice

The UK Cinema Association aims to resume business before July release of Christopher Nolan’s blockbuster Tenet, as studios and distributors scramble to protect theatrical business model

The UK cinema industry is understood to be lobbying the government to approve a proposed reopening scheme that would see venues welcome customers by the end of June.

Phil Clapp, the chief executive of the UK Cinema Association said: “We’ve made representations to government on the safeguards which UK cinemas would look to have in place for audiences and staff alike upon re-opening, and have asked that consideration be given – with these in mind – to allow cinemas to open by the end of June.”

The Hollywood Reporter says numerous attendees returned from the late-January festival with coronavirus symptoms

A new report suggests that January’s Sundance film festival, the annual gathering of cinephiles in Park City, Utah, may have been a key early hub for coronavirus in the US. The article, in the Hollywood Reporter, cites numerous attendees who experienced Covid-19-like symptoms either during or immediately after the festival. None were believed to have been tested for the disease.

Sundance this year attracted about 120,000 people to the small mountain resort, to watch films and party in confined spaces. The snowy conditions that make Park City perfect for skiing mean that socialising indoors is common, as are some flu-like symptoms as a result of the low temperature and high altitude.

In another blistering attack on Donald Trump, the actor says the New York governor is doing what a president should do

Robert De Niro has said he would be keen to play New York state governor Andrew Cuomo in a future movie about the coronavirus epidemic, as the actor made another blistering attack on Donald Trump.

Appearing on The Late Show with Stephen Colbert, De Niro expressed his admiration for Cuomo, saying: “He’s doing what a president should do.” He added: “I could see [a President Cuomo]. I am for Biden, and want everything to go well for Biden, but at least we have a person who is very capable, a very capable backup, if you will … he’s doing a great job, he’s doing what any president should do.”

Elizabeth Sankey’s fine documentary on the genre, premiering on Mubi, could be the perfect spark for your own romantic comedy love-in

Romantic comedies are a perennially undervalued genre: even very fine ones are often described as “guilty pleasures”. That’s always a nonsense term, given that no pleasure is without value or grace – least of all these days. Under lockdown, don’t you find yourself more inclined towards romantic comedies both great and mediocre, to sink yourself in the familiar warmth of stories driven by love and tenderness, where everything tends to turn out fine?

Mubi has thus chosen an opportune moment to premiere Romantic Comedy, a spry, affectionate documentary by musician turned film-maker Elizabeth Sankey that gives this maligned genre its due. A short, accessible film essay that did the festival rounds last year, it cuts to the heart of why romcoms have to work harder to be taken seriously – hint: they tend to prioritise the female viewer – and unpicks their history of flawed gender politics and heteronormative bias. But it’s a loving exercise, overlaid with droll personal commentary, and one that will have you jotting down a playlist of films to watch right after.

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The White House is making "contingency plans" for a second wave of coronavirus after emails reportedly contradict their claims that Centers for Disease Control and Prevention guidelines to safely reopen the economy were set aside because medical experts did not approve of them.

Water utility workers in El Paso, Texas were forced to unclog pumps over 20 times in 24 hours after residents refused to heed their call to refrain from flushing personal protective equipment and other coronavirus-related items down the toilet.

The winners and results of last night's Mega Millions lottery, plus how to avoid falling victim to a lottery scam.

The service, which protects political leaders including the president, said in March there was only one case, but new documents show that the disease is more widespread than believed.

It has been 60 years since the FDA first approved the birth control pill on May 9, 1960. It emerged as an essential pillar of women's ability to have good quality of life.

Restaurants and drive-in movie theatres are allowed to reopen in Las Vegas today, with casinos hoping to reopen by Memorial Day.