Scraping copyrighted material from internet could ‘potentially’ amount to acquisition of property by government, Anne Twomey says

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Altering copyright law to allow AI companies to scrape music, books and journalism could trigger a constitutional breach, Coalition senators and the recording industry have warned, as they raise new fears it could open Australia to massive legal action and compensation claims from rights holders worldwide.

The attorney general’s department admitted it was “extremely alive” to the issue, and Australia’s leading constitutional expert, Anne Twomey, agreed there was “potentially” a concern – depending how legislation was drafted – that granting AI companies permission to scrape copyrighted material from the internet could amount to an acquisition of property by the government.

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© Photograph: Lukas Coch/AAP

© Photograph: Lukas Coch/AAP

© Photograph: Lukas Coch/AAP

The actor was an exemplary bald star, embracing his hair loss and the freedoms it brought. He didn’t go grey or recede – and he didn’t wear a wig like William Shatner as Captain Kirk

• Patrick Stewart, Star Trek and X-Men actor and acclaimed thespian, dies aged 86

Patrick Stewart managed to be lots of different things at once. He was a towering figure on stage. He was a literal superhero onscreen. And, at times, he wasn’t above sending himself up. It also needs to be said that he was a bald man.

And a pioneering one at that. Nowhere was this more clear than during his stint on Star Trek: The Next Generation. Previously, Star Trek had been a kind of space-set action show, where the relentlessly virile Captain Kirk would beam down to new planets to either punch or get off with all the aliens there. But then came its successor, and Kirk was replaced by a nonviolent intellectual called Jean-Luc. Worse still, he didn’t have any hair. What a sign of weakness.

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© Photograph: Paramount Pictures/Elliott Marks/Allstar

© Photograph: Paramount Pictures/Elliott Marks/Allstar

© Photograph: Paramount Pictures/Elliott Marks/Allstar

Why is he not made of willow? Why is he plaited and not woven? World’s basket makers have plenty of questions

Hollywood heart-throbs are known for their good looks and charisma. But in a classic plot twist, the latest big-screen dreamboat causing viewers to get hot and bothered isn’t even human.

Alexander Skarsgård’s Wicker Husband character in the romcom Wicker has sent the internet into a frenzy.

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© Photograph: Jim Ruymen/UPI/Shutterstock

© Photograph: Jim Ruymen/UPI/Shutterstock

© Photograph: Jim Ruymen/UPI/Shutterstock

Kentridge’s cine-musical creation, made to accompany Shostakovich’s 10th Symphony, is a marvel of puppetry, dance and humour, exploring humanity, grief and idealism

The Baku international arts festival in Azerbaijan is showcasing an amazing cine-musical creation, perhaps the most amazing animation I have ever seen. Oh to Believe in Another World is an hour-long collage animation with live-action choreography by the 71-year-old South African artist and film-maker William Kentridge. It is shown with the live orchestral accompaniment of Shostakovich’s 10th Symphony, and this event is partly in honour of the 120th anniversary of Shostakovich’s birth this year, and partly to honour Shostakovich’s reportedly unrequited love (and lifelong friendship) for his student, Azerbaijani pianist and composer Elmira Nazirova.

The 10th symphony was inspired by Stalin and premiered shortly after his death, so it seems probable that Shostakovich had been at work on it for some time before this, long enough beforehand for at least some of the composition to have been conceived without any sense of Stalin’s death. Could part of it perhaps have been originally intended as an obediently dramatic tribute to Stalin? Yet the music arguably combines fear, awe, revulsion, and a hysterical reaction to the mad energy of Stalin’s genocidal tyranny, a darkly ambiguous respect for the great dictator whose victory in 1945 was a mainstay of the postwar dispensation; perhaps there is also a feeling in the music’s swirl that a great and terrible era has passed away, and with it a kind of grief at all that had been sacrificed to it.

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© Photograph: Pete Woodhead

© Photograph: Pete Woodhead

© Photograph: Pete Woodhead

For Halloween, Guardian writers have picked the most efficiently terrifying films outside of the horror genre from How to Have Sex to The Hunchback of Notre Dame

Minor spoilers ahead

Hiding in plain sight throughout Lee Chang-dong’s deliciously enigmatic Burning, in which a spirited young woman (Jeon Jong-seo) disappears, and a wealthy playboy (Steven Yeun) gives serial killer vibes, is a disaffected male rage. That’s perhaps the most commonplace horror of our times, whether on the internet or politics, and you feel the tremors of it steadily breaking the surface in Yoo Ah-in’s performance. He plays Jong-su, an aspiring writer, quietly frustrated with his lot in life. Jong-su works odd jobs and tends to his incarcerated father’s dilapidated farm, growing more desperate to grasp some sense of control over the world around him, which is where the scary part comes in. Lee is the master dramatist who with Burning tilts violently into thriller territory, navigating elements from Taxi Driver, The Vanishing and Michael Haneke’s Caché, using the language of horror movies to conjure up a creeping anxiety and dread that erupts into pure existential fear. Radheyan Simonpillai

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© Photograph: Landmark Media/Alamy

© Photograph: Landmark Media/Alamy

© Photograph: Landmark Media/Alamy

She plays a depressed fisherwoman. He plays a man made of wicker who is solely dedicated to her pleasure. How did the actors feel about this strange, emotional connection – and what did Colman draw from her own marriage?

Another year, another raunchy comedy-drama in which Alexander Skarsgård is the answer to a social outcast’s erotic dreams. “I fucking loved Pillion so much!” says Olivia Colman, reliably sweary straight out of the gate, as she brings up last year’s British indie hit starring Skarsgård as a leather-clad dom with a timid traffic warden as his submissive. “And when they kissed at the end … Aww.” The 52-year-old Oscar-winner for The Favourite gives a mock-sniffle and a little shake of her frizzy grey locks, then pretends to dab her eyes.

Seated beside her in a London hotel room and wearing a bright orange “I’m With Stupid” T-shirt, Skarsgård tilts his head appreciatively. In Pillion, it was Harry Melling who had the privilege of being ravaged by the 50-year-old Swedish actor. Now it is Colman’s turn in Wicker, an earthy adult fairytale filmed in Budapest and set in a medieval village populated almost exclusively by British comic actors who converse in language both archaically formal (“Happy to transact with you”) and bluntly colloquial (“I’d better fuck off”). Among them is Phil Daniels as a leering butcher and Richard E Grant as a doctor who is even more inept at his job than Grant was as a Celebrity Traitor.

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© Photograph: Courtesy of Black Bear

© Photograph: Courtesy of Black Bear

© Photograph: Courtesy of Black Bear

I was a fan of the film, so when it came on the market, I snapped it up. Now I allow other fans to come and stay in this piece of Hollywood history

I first saw Poltergeist at the movie theatre with my mom and sisters, back when it came out in 1982. I remember being scared, especially during the part when the toy clown drags little Robbie Freeling under the bed. At that age, the idea of a family experiencing something terrifying in the kind of everyday suburban house I was familiar with made a big impression. Later, it became a ritual of mine to put the movie on every Halloween.

I grew up in the Chicago area, but moved to California in the early 90s to go to art college. My sister moved there, too – to Simi Valley, not far from the house used as the Freeling family’s home in the movie. I’d drive past it when I visited her. A couple of years ago, I had a gut instinct that it would soon go up for sale. Sure enough, just weeks later I was sitting with my sister in her back yard when she looked up from her phone and said, “Hey! The Poltergeist house went on the market!”

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© Photograph: Bradley Meinz/The Guardian

© Photograph: Bradley Meinz/The Guardian

© Photograph: Bradley Meinz/The Guardian

From Jean-Luc Picard to Charles Xavier, the actor’s Shakespearean training – and that sonorous voice – made him a unique charismatic force in Hollywood

• Patrick Stewart dies age 86

• His life in pictures

• O Captain, our Captain: on Star Trek, Patrick Stewart could make anyone feel hopeful for humanity

• ‘He stood for the best of us’: William Shatner and more pay tribute

No actor showed the commercial potential of blue-chip British classical training like Patrick Stewart. With style, technique and the most minutely self-aware, almost vaudevillian sense of mimicry, Shakespearean thesps can turn their hand to American movies and high-end American television and show the American method actors how it’s done – sometimes, even, at the beginning of their screen careers, at a competitively low wage.

Stewart was one of the thoroughbreds of the Royal Shakespeare Company’s 1970s stage generation who had also had classy small screen roles, such as his intimidating Sejanus in I, Claudius opposite Derek Jacobi. But he effected a warp-speed leap to pop culture stardom by getting the role of Jean-Luc Picard, captain of the Federation starship USS Enterprise, in TV’s Star Trek: The Next Generation, the hugely successful reboot of Star Trek that ran from 1987 to 1994, spawning four separate feature films and then another series, Star Trek: Picard.

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© Photograph: MARVEL/Allstar

© Photograph: MARVEL/Allstar

© Photograph: MARVEL/Allstar

The Berlin-born performer had a gift for languages that took her to Hollywood, landing roles alongside Peter Sellers, Dick Van Dyke and Paul Newman

Elke Sommer, the prolific German star of the Pink Panther film A Shot in the Dark, early 70s Agatha Christie adaptation And Then there Were None, and British sex comedy Carry on Behind, has died aged 85. Bild magazine reported that Sommer died in Los Angeles of heart failure.

German-born Sommer, whose best-known film roles were in the 1960s and 70s, was one of the wave of European performers who crossed over to Hollywood and English-language cinema with considerable success, following the postwar emergence of European new wave cinema. Sommer was one of the few German actors to make waves at the time, as Hollywood made much of her bombshell image.

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© Photograph: Kobal/Shutterstock

© Photograph: Kobal/Shutterstock

© Photograph: Kobal/Shutterstock

From the beheading in The Omen to the attic scene in The Birds, here’s a countdown of the genre’s most iconic moments – in glorious, old-school pre-CGI style

Towards the end of the 20th century, when film-makers’ overreliance on CGI was increasingly making special effects less special, it took the old-school practical approach of Japanese film-maker Hideo Nakata to make one’s hair stand on end. Just when you think the cursed VHS tape has claimed its last victim, Sadako’s vengeful ghost emerges from the well, comes closer … and climbs out of the television screen.

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© Photograph: Warner Bros./Allstar

© Photograph: Warner Bros./Allstar

© Photograph: Warner Bros./Allstar

Demi Moore’s haute-couture maven attracts the attention of a gang of contemporary Robin Hood type clothes robbers in Riley’s fashion biz satire

Here is an entertaining, if very exhausting fantasy-caper about the fashion biz from Boots Riley, a madcap mile-a-minute melee of unadulterated ker-aziness. You might need a couple of ibuprofen and a lie-down afterwards. Demi Moore perhaps thought she was here getting a gamey starring role, comparable to her Oscar-nominated turn in the beauty-industry satire The Substance. In fact, the way the film is structured and edited, Moore is hardly more than a returning cameo, though a potent one.

She plays Christie Smith, a billionaire couture designer who has an office in a trendily designed city block which leans over at an experimental angle. Christie is the object of obsessive attention from “boosters”: supercool young outlaw women who, nettled by her arrogance, shoplift her clothes from upscale stores and sell them on at knockdown Robin Hood prices. They are Corvette (Keke Palmer), Sade (Naomi Ackie) and Mariah (Taylour Paige), the latter having the ability to, by holding her breath, turning herself into a white woman who is less likely to be challenged in a store; an interesting metaphor for what Frantz Fanon might have called black skin, white masks.

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© Photograph: Courtesty of NEON

© Photograph: Courtesty of NEON

© Photograph: Courtesty of NEON

Colman stars as a depressed and bullied fisherwoman in medieval England. Fortunately, Peter Dinklage’s basketmaker delivers the answer to her dreams – an Alexander Skarsgård made of wicker

The spirit of mystery author Shirley Jackson is interestingly revived in this peculiar folk-horror romance, adapted from a 2006 story called The Wicker Husband by British writer Ursula Wills. It’s almost funny but not exactly, and almost disturbing but not exactly, occupying a strange and intriguing Venn-diagram overlap between macabre horror and sentimentality. Yet devotees of bucolic British screen-scariness will note that it is, after all, about a wicker man.

The scene is a fabular medieval-effect village that could be in central Europe or England, where there are bizarre patriarchal rituals, like the placing of metal collars on new brides. A depressed middle-aged fisherwoman (fiercely and naturalistically played by Olivia Colman) lives alone in a remote cottage and regularly brings her unappetising tench and gudgeon to market, where she is mocked and bullied by the nasty, closed-minded locals, including Richard E Grant as a lazy and incompetent doctor. Chief among her tormentors is the spiteful tailor’s wife, an elegant, sharp-faced woman played by Elizabeth Debicki.

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© Photograph: Black Bear/PA

© Photograph: Black Bear/PA

© Photograph: Black Bear/PA

Charges against him are unclear after return to Iran despite being sentenced last year for ‘propaganda activities’

An Iranian court has handed the award-winning film director Jafar Panahi a new prison sentence of five years and one month and ordered the seizure of all his assets.

The 66-year-old, who won the Palme d’Or at Cannes last year for It Was Just an Accident, was sentenced in absentia, his lawyer, Mostafa Nili, told the Iranian news outlet Emtedad. The court also imposed a two-year travel ban and barred him from using social media for two years, Nili said.

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© Photograph: Carlos Álvarez/Getty Images

© Photograph: Carlos Álvarez/Getty Images

© Photograph: Carlos Álvarez/Getty Images

Chair of membership council says legal advice obtained at own expense suggests offences could have been committed

Bafta trustees may have breached charity and company law by accepting free tickets for guests at the organisation’s awards ceremonies, the chair of its membership council has claimed.

Michael Pritchett told members at Bafta’s annual general meeting that legal advice obtained at his own expense suggested offences could have been committed by trustees who approved the charity’s accounts, which stated that no trustees had received remuneration or benefits.

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© Photograph: London Entertainment/Alamy

© Photograph: London Entertainment/Alamy

© Photograph: London Entertainment/Alamy

"You Can See Everything," the documentary co-directed by Lance Oppenheim and Nathan Fielder, is a breakthrough success. It follows Elizabeth Holmes, the convicted founder of Theranos, just weeks before she goes to prison. The intimate access and the questions it raises are the talk of this fall movie season. Jeffrey Brown sat down with Alissa Wilkinson for our arts and culture series, CANVAS.

What happens when a forest loses its birdsong? Following clues hidden in the sounds birds make while asleep, Argentinian physicist Gabriel Mindlin uncovers a hidden extinction – not of species, but of memory – and sets out to revive vanished melodies before they disappear forever. Part detective story, part cutting-edge science, Mindlin’s mission leads him to the dusty 1960s archives of Buenos Aires naturalist, confirming that some songs no longer echo in the biosphere. So he deploys “robot tutors” to see whether young birds can learn and spread the old songs once again.

Read more on this topic: Trill seekers: can scientists use AI and tutors to help birds remember lost songs?

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© Photograph: Martín Benchimol

© Photograph: Martín Benchimol

© Photograph: Martín Benchimol