Shocking, arresting and extraordinary photographs that shifted how women are seen in the world

• Author Anne Enright: ‘The lens has not lost its power to claim and possess’

By Sophy Rickett

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Long-distance couples meet for the first time, including a pair who started out in a Game of Thrones roleplay chatroom. It is bizarre but strangely sweet to witness

When the internet was invented nobody used their real names on it, and I am starting to wonder if breaking that covenant was a mistake. “Starting to wonder” – correction, I am fully sure that was an error. We need to go back to usernames – xX_tha_0rin0c0_Xx, that sort of thing – and anonymity and no webcams and, ideally, screeching 56k modems. The internet is too fast, too accessible, too always-on. Our phones can suck internet out of the sky and the idea of “logging off” is extinct. I am planning to start one of those one-topic political parties that always get obliterated at London mayoral elections about this, by the way, so keep your eyes out.

Anyway. As we all know, what Channel 4 excels at is documentaries that can be described as “sweet but weird”, and this week The Nevermets starts (Friday 24 May, 10pm), which is a classic of the genre. The Nevermets follows a series of, as narrator Dawn French keeps describing them, “ordinary Brits”, as they look at their phone screens and smile in bed. This is because they are all in love with someone across the world who they met in a chatroom or on Snapchat, or from extended Instagram or Facebook conversations, and – despite, in many cases, the couples professing to be in love with each other – they have never actually, you know, met. So we get to see them meet.

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Ian Rankin’s mercurial detective is back in a fresh reimagining. Plus: more fun with Ncuti Gatwa’s Doctor. Here’s what to watch this evening

9.25pm, BBC One

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Completed days before his assisted death, the French New Wave master director talks through his ideas as illustrated in his hand-drawn scrapbook

Here is an intriguing footnote to Jean-Luc Godard’s extraordinary career - a docu-textual movie collage lasting just under an hour in two parts, or maybe two layers, completed just before his assisted death two years ago in Switzerland at the age of 91. His collaborator and cinematographer Fabrice Aragno calls it not the “last Godard” but a “new Godard”. In its way, this little double film shows us a very great deal about Godard’s working habits, and it’s a late example of Godard speaking intimately in his own person about his own creative process.

Scénarios appears to have grown out of thoughts generated by his last film, The Image Book, which emerged in 2018 . Godard sketched out his storyboarded or scrapbooked ideas for a short piece, which would juxtapose images, quotations, musical cues and clips in his distinctive manner. Aragno edited and curated the film from this blueprint, then came back to see Godard and to shoot a brief sequence of the director reciting a text from Sartre to go at the end. This is the first short film we see.

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An office drone must suffer the machismo of an Australian coastal town in this barmy, low-budget thriller about a would-be wave-chaser

Here is a gloriously demented B-movie thriller about a middle-aged man who wants to ride a big wave and the grinning local bullies who regard the beach as home soil. “Don’t live here, don’t surf here,” they shout at any luckless tourist who dares to visit picturesque Lunar Bay on Australia’s south-western coast, where the land is heavy with heat and colour. Tempers are fraying; it’s a hundred degrees in the shade. The picture crash-lands at the Cannes film festival like a wild-eyed, brawling drunk.

The middle-aged man is unnamed, so let’s call him Nic Cage. Lorcan Finnegan’s film, after all, is as much about Cage – his image, his career history, his acting pyrotechnics – as it is about surfing or the illusory concept of home. The Surfer sets the star up as a man on the edge – a sad-sack office drone who desperately wants to belong – and then shoves him unceremoniously clear over the cliff-edge. Before long, our hero is living out of his car in the parking lot near the dunes, drinking from puddles, foraging for food from bins, and scheming all the while to make his way down to the shore.

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John Krasinski and Ryan Reynolds go family-friendly in their new imaginary-friends comedy, while the singer swaps introspection for lust on her long-awaited new album

If
Out now
In what has to be one of the more enviable showbiz lives, John Krasinski has played Jim in The Office, married Emily Blunt, and written and directed acclaimed horror franchise A Quiet Place. Now he turns his hand to family entertainment, writing and directing this part-animated fantasy about imaginary friends made visible with a little help from Ryan Reynolds and Steve Carell.

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Cannes film festival
A dying director who fled from the US to Canada agrees to make a confessional film in Schrader’s fragmented and anticlimactic story

Muddled, anticlimactic and often diffidently performed, this oddly passionless new movie from Paul Schrader is a disappointment. It is based on the novel Foregone by Russell Banks (Schrader also adapted Banks’s novel Affliction in 1997) and reunites Schrader with Richard Gere, his star from American Gigolo. Though initially intriguing, it really fails to deliver the emotional revelation or self-knowledge that it appears to be leading up to. There are moments of intensity and promise; with a director of Schrader’s shrewdness and creative alertness, how could there not be? But the movie appears to circle endlessly around its own emotions and ideas without closing in.

The title is partly a reference to the national anthem of that nation, which is a place of freedom and opportunity which may have an almost Rosebud-type significance for the chief character, an avowed draft-resister refugee from the US in the late 60s, who becomes an acclaimed documentary film-maker in his chosen country. Maybe Vietnam was his real reason for fleeing and maybe it wasn’t. This central point is one of many things in this fragmented film which is unsatisfyingly evoked.

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War in Gaza, the Russian offensive in Kharkiv, protests in Georgia, the Northern lights and the Cannes Film Festival: the last seven days as captured by the world’s leading photojournalists

Warning: this gallery contains images that some readers may find distressing

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Exclusive: FOI request reveals Arts Council updated guidance after discussing Gaza conflict with DCMS

Arts Council England (ACE) issued a warning that “political statements” could break funding agreements after discussions with the government about artists speaking out over the Israel-Gaza war, newly released documents suggest.

A freedom of information request made by the actors’ union Equity has revealed that the conflict was discussed in a meeting between ACE and the Department for Culture, Media and Sport (DCMS) in December.

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