Austrian director Markus Schleinzer’s captivating film follows a woman passing herself off a man in 17th-century rural Germany

Austrian director Markus Schleinzer brings a chill to his eerie new movie, a stark monochrome period drama set in rural southern Germany in the aftermath of the Thirty Years’ war. It is a film which, for all its grimness, is beautifully shot and as engrossing as a lurid soap opera. It’s a story of gender stereotypes, satirising the central mythic tenet of patriarchal Christianity and depicting humanity’s self-invention through violence and stealth. The chief influence is clearly Michael Haneke’s icy black-and-white film The White Ribbon from 2009, on which Schleinzer worked as casting director; Schleinzer shares with Haneke an interest in leaving the audience with an intractable, insoluble mystery: a problem that won’t tie up.

The drama effectively conflates real-life cases of women passing themselves off as men in early modern Europe with the well-known case history of the French false claimant Martin Guerre. Sandra Hüller gives a superb performance as Rose, a young woman who has been posing as a man all her life and has been a soldier in this guise. She wears dour shapeless clothes, and has the brisk, brusque, economical physical movements of an old soldier; a livid scar that has transformed her face into a worldly and conveniently unfeminine grimace. She says it is the result of a bullet that she now wears around her neck on a cord, a kind of unlucky charm, a reminder of her survival.

Lauren James shows what Chelsea have been missing, Villa get a ‘cruel’ crushing and the leaders bounce back

If there were any questions around how Manchester City would respond to seeing their unbeaten league run end, they were quickly put to bed. Andrée Jeglertz’s side were back to their free-flowing attacking best, putting six past Leicester. Dominant seems to be a bit of an understatement when describing this performance. The league leaders created 31 chances, with 15 on target; had an xG of 4.63; registered 66 touches in the opposition box; and made 600 of 660 passes (91%). The front four of Lauren Hemp, Bunny Shaw, Kerolin and Vivianne Miedema is formidable and they were all involved, to some degree, in five of the six goals. Hemp starred down the left, creating 11 chances that include two assists; Shaw sent home a trademark header for her 15th league goal of the season; Miedema pulled the strings and grabbed herself a brace; and Kerolin scored the pick of the bunch and registered an assist. Sophie Downey

Match report: Chelsea 2-0 Liverpool

With audiences fatigued by endlessly interconnected mashups, studios are reverting to movies with one storyline that ends in a natural conclusion – what a radical idea

The news this week that Brendan Fraser and Rachel Weisz are to return in a new Mummy film for the first time in a quarter of a century feels a bit like Hollywood stumbling out of a very long house party it doesn’t entirely remember attending. The last time the pair appeared together was 2001, when The Mummy Returns (itself an insipid sequel to 1999’s much better The Mummy) hit multiplexes. Since then we’ve had a spin-off (2002’s The Scorpion King, featuring an early turn from Dwayne Johnson) and a second sequel that didn’t feature Weisz, 2008’s forgettable The Mummy: Tomb of the Dragon Emperor.

And then, of course, there was the ill-fated “Dark Universe”, forever immortalised by that solemn publicity photograph of Russell Crowe (Dr Jekyll), Javier Bardem (Frankenstein’s Monster), Tom Cruise and Johnny Depp (The Invisible Man) staring into the middle distance like an ageing goth supergroup. The plan was to launch an interconnected saga in which Jekyll would act as a sort of monster-movie Nick Fury, corralling Dracula, Frankenstein and assorted undead assets into a synergised Marvel-style cinematic ecosystem. Fortunately it rapidly fell apart: 2017’s Cruise-led The Mummy landed with all the grace of a cursed sarcophagus dropped down a lift shaft. And that, as far as the Dark Universe was concerned, was that. Universal pivoted to smaller films such as Leigh Whannell’s The Invisible Man, while Bardem’s Monster and Depp’s Invisible Man never materialised at all.

Prime minister says outcomes of consultation on social media ban should be implemented quickly as technology minister says Australia-style ban is not inevitable

In his Q&A with journalists, Keir Starmer was also asked to respond to a report by the BBC’s James Landale saying he is looking at plans to raise defence spending to 3% of GDP by the end of this parliament. In the past Starmer has just said that he would like to do this at some point in the next parliament.

In his reply, Starmer said that at the Munich Security Conference over the weekend he was arguing that the UK, and Europe as a whole, needs to “step up”.

We want a just and lasting peace, but that will not extinguish the Russian threat, and we need to be alert to that, because that’s going to affect every single person in this room, every single person in this country, so we need to step up.

That means, on defence spending, we need to go faster.

As her Women’s prize-winning novel heads to the Oscars, we rate the author’s best work – from tales of new motherhood to a life-affirming memoir of mortality

The ghost of a previous lover is always a challenge, particularly if you (mistakenly) believe that she’s actually dead. This is the unenviable situation for Lily, the protagonist of O’Farrell’s second novel, who is swept off her feet by dashing architect Marcus and in short order moves in with him. Lily takes his assurances that her predecessor Sinead is “no longer with us” to mark a more permanent absence; in fact, Sinead has simply been thrown over, and it is in the details of the collapse of her relationship with Marcus that the novel most engages. Hints of the gothic ghost story deepen one of the main takeaways, which is that Marcus consists almost entirely of red flags.

Files show convicted sex abuser messaged with Ken Starr and others about Kavanaugh accuser Christine Blasey Ford

Jeffrey Epstein sympathized with Brett Kavanaugh during the then-supreme court nominee’s contentious 2018 confirmation and even suggested Republicans should have been harder on Christine Blasey Ford, who had accused Kavanaugh of sexual assault.

Emails and text messages released by the Department of Justice show Epstein was closely monitoring the confirmation and seemed to believe that Ford’s allegation of sexual assault could derail the process.

The former Ireland hooker on his rugby family, why Andy Farrell’s side need to rebuild and the physical toll of touring with the Lions

I have known Keith Wood for nearly 30 years and so it’s easy to talk about life and death long before we move on to rugby. But the game always provides context and, last Friday afternoon, the 54-year-old former Lions hooker and Irish captain drove to Cork to watch his youngest son, Tom, play for Ireland against Italy in the Under-20 Six Nations.

The previous weekend Tom made his first-team debut for Munster to match his dad and the grandfather he never met. Gordon Wood played for Munster, as well as Ireland and the Lions, before he died, aged 50, in 1982. Keith was only 10 when that first tragedy occurred but he went on to play for the same three teams as his dad.

The Congo River basin is one of the planet’s most biodiverse ecosystems. But it is also home to a growing population and relentless trade in timber and charcoal

“You can’t be scared of the storms,” says Jean de Dieu Mokuma as the sun sets on the Congo River behind him. “With the current, once your voyage has begun, there is no turning back.” Mokuma, along with his wife Marie-Therese and their two young children, is piloting a cargo of timber downstream lashed on to a precarious raft and tied to a canoe.

Families wake up at dawn on rafts of logs and merchandise that are being transported down the Congo River by boat to Kinshasa, the DRC capital

Packed cinemas testify to the allure of Emily Brontë’s tale, even if this latest retelling is not to everyone’s taste

It’s hard to think of any book with a stronger hold on its admirers than Wuthering Heights. Almost 200 years after publication, Emily Brontë’s tale of forbidden love and ruthless revenge inspires a devotion that makes any reinterpretation feel like a personal and proprietary affront.

Into this sea of sensitivities has plunged the director Emerald Fennell, whose new adaptation has become one of the year’s most debated films. Dubbed “50 shades of Brontë”, everything about it has been scrutinised: from the casting of Aussies Margot Robbie and Jacob Elordi as Cathy and Heathcliff to the anachronistic costumes and music, and the overt sexualisation of the plot.

The maximalist adaptation of the gothic romance shows great interest in production design but very little in character

It does not take long into Wuthering Heights, Emerald Fennell’s adaptation of Emily Brontë’s English lit classic, for one to detect the film-maker’s true faith. It is not to the challenging and beloved gothic novel of emotional repression and inheritance; as with many other cinematic adaptations, Fennell dispenses with the unruly latter half of the book, along with most of its conventions. In Fennell’s emphatically maximalist vision – she has explained that the quotation marks in the film’s marketing are a note of humility, to her singular and limited interpretation – the tortuously connected Cathy (Margot Robbie) and Heathcliff (Jacob Elordi) swoon about the Yorkshire moors in extravagant, anachronistic formalwear, flagrantly unbound by period decorum.

Over three features, the English writer-director has demonstrated a penchant for sticky visuals; arguably the most-discussed scene from 2023’s Saltburn, her discourse-driving sophomore feature, involved the licking of cummy bathwater from the drain. Wuthering Heights is not to be controversially out-soaked. In closeup, sweat beads and drips down a spine; snail slime indolently streaks a window; freshly poured pig blood mucks Cathy’s dress. Desire, less suggested than enforced, stains everything. Early in the film, just after the abrupt ageing of Cathy and Heathcliff from boundless children (played by Charlotte Mellington and Adolescence’s Owen Cooper) to unspecific adults, Elordi’s brooding, beastly Heathcliff catches Robbie’s blonde Cathy, furiously horny after a bit of light voyeurism, pleasuring herself against the windswept rocks. She tries to hide her hand in her dress; he picks her up by the bodice strings, and licks her fingers clean.

Growing up in a turbulent household taught me to expect the worst. Then one day I found £20 in the street and shifted my thinking

Growing up, I was envious of one type of person. It was never the kids who were smarter, sportier or more popular. My awe was reserved for a rarer breed of people: optimists. I was hypersensitive to the ease with which they sailed through exams, social gatherings or teenage milestones with a sunny conviction that things would more or less work out. To me, they were the chosen people. “It’ll be fine,” one such friend would reassure me. “Or you could embarrass yourself,” my mind would purr like a villain. “Be rejected. Fail.”

I was a chronic worrier. A negative Nancy. I couldn’t fathom that people’s brains weren’t hardwired to compulsively fear things might go wrong. I grew up as the eldest daughter in a turbulent household where my father’s moods would plummet quickly and I walked on a knife-edge. Every morning, the second my eyes opened, I would force myself to accept it was going to be a bad day – an act of self-preservation so the rug could never get pulled from under my feet hoping for better. My thinking was that if you always expected the worst, things had a tendency to turn out better than you imagined.

American politicians break rank at Munich Security Conference to hit out at ‘destructive’ president and urge Europe to stand up to Trump

Donald Trump’s most unbridled critics at this weekend’s Munich Security Conference have not been Europeans but Americans – and not just Democrat politicians.

A few Republicans, out of earshot of the US president’s favoured Fox News, have had the courage to challenge Trump’s diet of tariffs and unpredictability.

His charm and excitement helped us see the world as he did – full of kindness and joy

When we bought Otto, a golden retriever, a year after the death of our previous dog Bertie, we were sceptical that he could live up to our high expectations. What quickly became apparent, during the routine humiliation of our puppy training classes, was that Otto was a law unto himself.

“He’s not normal” quickly became a stock family phrase, as Otto demonstrated a series of wild, mischievous and outlandish behaviours. During classes, I remember being told euphemistically that he was “wilful” and shamefully resorted to hiding cocktail sausages in my pockets during the final exam to encourage a modicum of civility in him. It just about worked.

Maga is a recapitulation of the dark side of American history that cohered into nativist nationalism a century ago

Donald Trump’s posting of a video depicting former president Barack Obama and former first lady Michelle Obama as apes was the most overtly racist act of a president since Woodrow Wilson segregated the federal civil service – or since Trump’s previous racist gesture. The racist imagery Trump posted was so egregious that the video’s misogyny representing Hillary Clinton, Kamala Harris and Alexandria Ocasio-Cortez as animals was overlooked. Trump’s denigration of women is implicitly assumed as business-as-usual and not newsworthy: “Quiet, piggy!” And down the memory hole are the 3m long-suppressed documents from the Epstein files in which he is mentioned in its unredacted pages “more than a million times”, according to the Democratic representative Jamie Raskin, who was permitted access.

The only Black Republican US senator, Tim Scott of South Carolina, said of the Obama portrayal: “It’s the most racist thing I’ve seen out of this White House,” though Scott did not disclose any list, which could have been drawn from an encyclopedia of offenses beginning decades before Trump’s birther campaign. During Trump’s first administration, in 2020, Scott chose to call out one incident as “indefensible”: Trump’s tweet of a video of a supporter chanting “white power”. Trump’s latest racist post was preceded on 11 January by his predictable vandalism of Black History Month in an interview with the New York Times with a remark about the Civil Rights Act of 1964: “White people were very badly treated.”

Sidney Blumenthal, former senior adviser to Bill Clinton and Hillary Clinton, has published three books of a projected five-volume political life of Abraham Lincoln: A Self-Made Man, Wrestling With His Angel and All the Powers of Earth. He is a Guardian US columnist

Takeshi Koike’s latest take on Monkey Punch’s vintage manga thief is beautifully animated, but the gossamer-thin plot and characterisation mean it’s one for superfans only

Created by manga artist Kazuhiko Katō, AKA Monkey Punch, Lupin the IIIrd has lived a thousand lives since his 1967 debut. A devil-may-care thief with a dazzling set of skills, the character has crossed over from comic pages to anime, live-action films, and even video games. Film-makers have to follow in the footsteps of such luminaries as Hayao Miyazaki and Seijun Suzuki; faced with this legacy, director Takeshi Koike has been charged with revitalising the franchise. Across an anime series and a trilogy of feature films, his visual approach has signaled a return to the original manga, characterised by dynamic, graphic lines and a darker sensibility.

Koike’s latest film, intended as the concluding chapter to his previous Lupin outings, is still wonderfully animated. For the newbies, there’s a 10-minute recap of the character’s past escapades, filled with madcap heists and blood-soaked standoffs. With his trusted crew by his side – including marksman Jigen, samurai Goemon, and vixen spy Fujiko Mine – Lupin heads to an uncharted island ruled by an immortal being called Muom. He falls into a maze of perilous traps, forcing the team to separate and combat demonic creatures, as well as longstanding foes.

After JD Vance’s frontal attack in Munich last year, the US secretary of state’s tone seemed almost soothing. That’s just a new Maga trap

The good news from the Munich Security Conference is that there was no dramatic deterioration in the transatlantic relationship. After the shock of last year’s event, when JD Vance stunned the audience with a frontal US attack on Europe’s liberal democracies, the seemingly more conciliatory tone struck by Marco Rubio was greeted by many present, including Wolfgang Ischinger, a veteran German diplomat and the conference chair, as “reassuring”. Indeed, the US secretary of state got a standing ovation in the room – a gesture perhaps more of relief than of adulation. But is the Trump administration’s message to Europe really any different now from that contained in Vance’s assault 12 months ago? What traps are being laid and what lessons should Europeans draw?

A year ago, Vance accused Europe of succumbing to the alleged tyranny and censorship of woke liberals and losing sight of the cultural bonds that link the two shores of the Atlantic. His attack baffled European leaders, who, while often prone to navel-gazing about their internal struggles, do not consider restrictions on free speech a primary concern. The US vice-president shocked Munich by insisting that Europe’s biggest threat was the woke “threat from within”, even as he endorsed far-right nationalists including Germany’s AfD. The insult was so deep that this year the German chancellor, Friedrich Merz, used his opening address to issue a blunt warning about American unilateralist values, declaring that “the culture war of the Maga movement is not ours”.

Nathalie Tocci is a Guardian Europe columnist

The pop superstar will oversee the annual music and art celebration in June, marking the festival’s 31st edition and the venue’s 75th anniversary

Harry Styles is to curate the Meltdown festival at London’s Southbank Centre, coinciding with the 75th anniversary of the venue.

The 32-year-old pop star follows Little Simz as curator of the 2025 event, and previous editions led by artists including Grace Jones, Nile Rodgers and Robert Smith of the Cure.

Rubio says relationship with Orbán is ‘vital for US national interests’ ahead of Hungarian elections in April

Back to Budapest now. Marco Rubio and the Hungarian foreign minister, Peter Szijjarto, appear to be signing an agreement to facilitate cooperation on a civilian nuclear programme.

We’ll give you any key lines from the press conference. In the meantime, our European community affairs correspondent, Ashifa Kassam, has reported on the EU’s proposed deportation law that rights groups warn could intensify already widespread racial profiling across the continent. Here is an extract from her story:

More than 70 rights organisations have called on the EU to reject a proposal aimed at increasing the deportation of undocumented people, warning that it risks turning everyday spaces, public services and community interactions into tools of ICE-style immigration enforcement.

Last March, the European Commission laid out its proposal to increase deportations of people with no legal right to stay in the EU, including potentially sending them to offshore centres in non-EU countries.

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Solberg of Norway looks like he’s going nicely, but he’s still well off the lad at every checkpoint. Increasingly, it looks like getting out first was a big advantage, Atle Lie McGrath still in front, as Sala of Italy joins the growing list of those who didn’t finish.

Visibility isn’t great as Dave “The Rocket” Ryding” sets off for his penultimate Olympic run. The GB veteran isn’t likely to trouble the podium, but he’ll want to make the second run, and he finishes 13th, 3.74 off the lead.

Group C updates: England post 202-7 at Eden Gardens
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Alistair Connor writes in and wants to know, “what’s the record of this Italian side against ... Scotland?”

Hmmm. Well, according to a quick Google search, they’ve played each other once with Scotland winning by 73 runs.

Low pressure system funnels rain over already saturated areas, compounding risk of further flooding

A deep area of low pressure to the south-east of New Zealand’s North Island swept into the region on Sunday, bringing heavy rain, gale-force winds and dangerous coastal swells that lashed exposed shorelines. The storm triggered power outages, forced evacuations and damaged infrastructure, with further impacts likely on Monday as the system lingers for a time, before tracking southwards later.

Its arrival came after days of widespread flooding in the Ōtorohanga district, where a man was found dead after his vehicle became submerged in flood waters. Some areas recorded more than 100mm of rain in 24 hours on Thursday, with Gisborne, Hawke’s Bay and the Bay of Plenty bearing the brunt of the deluge. The Tararua district and Wairarapa have also been experiencing heavy rain and strong winds from the storm, with 24-hour rainfall totals reaching more than 100mm locally, and wind speeds of about 80mph (130km/h) along coastal parts.

Two time-stamped poems are taken from a book-length sequence tracking the human moments of a factory night shift

01.29

When we look up at stars on break
we see only stars behind
the exhaled Milky Way
of Bobby’s Golden Virginia,
ways to navigate shift patterns,
nothing seismic or anything approaching
truth; for us stars mean only night shift,
insanity of depth,
the slow individual seconds
during which the dotted starlight
doesn’t burn fast enough.

Multiple game creators describe ineffective moderation on the platform, resulting in unchecked hatred in forums and targeted campaigns of negative ‘anti-woke’ reviews

For years, the gaming storefront Steam has let abuse and bigotry pass through its moderation, according to players and developers who use it. The platform is now host to reams of content that violate its own guidelines.

According to developers who spoke with the Guardian, abuse – particularly directed towards transgender creators – is a fact of life on the platform. “Everyone is at one another’s throats all the time in reviews, discussions, forums, anywhere you can possibly find it on Steam,” says content creator and Steam curator Bri “BlondePizza” Moore. “It ensures no one is safe on the platform; developers and consumers alike.”

The latest in our ongoing series of writers picking their comfort watches is an appreciation of Doris Day’s rule-defying heroine

There was a real vogue for gunslinging heroines back in mid-20th century American cinema. Gene Tierney wrangled civil war rebels in Belle Starr. Betty Hutton pranced around with a shotgun in a sparkly red cowgirl get-up, alongside a cowhide-wearing Howard Keel, in Annie Get Your Gun. But cinemagoers were thrown a curveball three years later when they got Doris Day – again with baritone sidekick Keel in tow – dressed, wise-cracking and swaggering exactly like a man.

Admittedly, when I first saw Calamity Jane aged nine, I was also not immediately sold. Not because of Day’s gender non-conformity, which had me hooked, but because of the bizarreness of the pseudo-biopic’s synopsis and its grating musical numbers. The New York Times had a point when they deemed it “shrill and preposterous”. Then there was the fact that on first look it appeared to be a western. Part crooning romcom, part frontier drama, it’s a strange beast of a film, but I was soon won over.