prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Where does the director of film L'Arbre, Le Maire Et La Médiathèque work at?

The following are given passages.
Context 1: Passage 1:
Jacob Le Maire
Jacob Le Maire (c  1585 – 22 December 1616) was a Dutch mariner who circumnavigated the earth in 1615 and 1616  The strait between Tierra del Fuego and Isla de los Estados was named the Le Maire Strait in his honour, though not without controversy  It was Le Maire himself who proposed to the council aboard Eendracht that the new passage should be called by his name and the council unanimously agreed with Le Maire  The author or authors of The Relation took Eendracht captain Willem Schouten's side by proclaiming:

“     our men had each of them three cups of wine in signe of ioy for our good hap     [and the naming of] the Straights of Le Maire, although by good right it should rather have been called Willem Schouten Straight, after our Masters Name, by whose wise conduction and skill in sayling, the same was found ” Eendracht then rounded Cape Horn, proving that Tierra del Fuego was not a continent 

Biography
Jacob Le Maire was born in either Antwerp or Amsterdam, one of the 22 children of Maria Walraven of Antwerp and Isaac Le Maire (1558–1624) of Tournai, who was then already a prosperous merchant in Antwerp  Isaac and Maria married shortly before the Spanish siege of Antwerp in 1585 after which they fled to settle in Amsterdam  Jacob is thought to have been the oldest son, born perhaps the same year  Isaac was very successful in Amsterdam, and became one of the founders of the Dutch East Indies Company (VOC)  However, in 1605 Isaac Le Maire was forced to leave the company after a dispute and for the next decade tried to break the company's monopoly on the trade to the East Indies 
By 1615 Isaac had established a new company (the Australian Company) with the goal to find a new route to the Pacific and the Spice Islands, thereby evading the restrictions of the VOC  He contributed to the outfitting of two ships, the Eendracht and Hoorn, and put his son Jacob in charge of trading during the expedition  The experienced ship master Willem Schouten was captain of the Eendracht and a participant of the enterprise in equal shares with Isaac Le Maire On 14 June 1615 Jacob le Maire and Willem Schouten sailed from Texel in the United Provinces  On 29 January 1616 they rounded Cape Horn, which they named for the Hoorn, which was lost in a fire   The Dutch city of Hoorn was also the birthplace of Schouten  After failing to moor at the Juan Fernández Islands in early March, the ships crossed the Pacific in a fairly straight line, visiting several of the Tuamotus  Between 21 and 24 April 1616 they were the first Westerners to visit the (Northern) Tonga islands: "Cocos Island" (Tafahi), "Traitors Island" (Niuatoputapu), and "Island of Good Hope" (Niuafo'ou)  On 28 April they discovered the Hoorn Islands (Futuna and Alofi), where they were very well received and stayed until 12 May  They then followed the north coasts of New Ireland and New Guinea and visited adjacent islands, including, on 24 July, what became known as the Schouten Islands 
They reached the northern Moluccas in August and finally Ternate, the headquarters of the VOC, on 12 September 1616  Here they were enthusiastically welcomed by Governor-General Laurens Reael, admiral Steven Verhagen, and the governor of Ambon, Jasper Jansz 
The Eendracht sailed on to Java and reached  Batavia on 28 October with a remarkable 84 of the original 87 crew members of both ships on board  Although they had opened an unknown route, Jan Pieterszoon Coen of the VOC claimed infringement of its monopoly of trade to the Spice Islands  Le Maire and Schouten were arrested and the Eendracht was confiscated  After being released, they returned from Batavia to Amsterdam in the company of Joris van Spilbergen, who was on a circumnavigation of the earth himself, be it via the traditional Strait of Magellan 
Le Maire was aboard the ship Amsterdam on this journey home, but died en route  Van Spilbergen was at his deathbed and took Le Maire's report of his trip, which he included in his book Mirror of the East and West Indies  The rest of the crew arrived in the Netherlands on 1 July 1617, two years and 17 days after they departed  Jacob's father Isaac challenged the confiscation and the conclusion of the VOC, but it took him until 1622 until a court ruled in his favour  He was awarded 64,000 pounds and retrieved his son's diaries (which he then published as well), and his company was allowed trade via the newly discovered route  Unfortunately, by then, the Dutch West Indies Company had claimed the same waters 

Footnotes
Passage 2:
Éric Rohmer
Jean Marie Maurice Schérer or Maurice Henri Joseph Schérer, known as Éric Rohmer (French: [eʁik ʁomɛʁ]; 21 March 1920 – 11 January 2010), was a French film director, film critic, journalist, novelist, screenwriter, and teacher 
Rohmer was the last of the post-World War II French New Wave directors to become established  He edited the influential film journal Cahiers du cinéma from 1957 to 1963, while most of his colleagues—among them Jean-Luc Godard and François Truffaut—were making the transition from critics to filmmakers and gaining international attention 
Rohmer gained international acclaim around 1969 when his film My Night at Maud's was nominated at the Academy Awards  He won the San Sebastián International Film Festival with Claire's Knee in 1971 and the Golden Lion at the Venice Film Festival for The Green Ray in 1986  Rohmer went on to receive the Venice Film Festival's Career Golden Lion in 2001 
After Rohmer's death in 2010, his obituary in The Daily Telegraph described him as "the most durable filmmaker of the French New Wave", outlasting his peers and "still making movies the public wanted to see" late in his career 

Early life
Rohmer was born Jean-Marie Maurice Schérer (or Maurice Henri Joseph Schérer) in Nancy (also listed as Tulle), Meurthe-et-Moselle department, Lorraine, France, the son of Mathilde (née Bucher) and Lucien Schérer  Rohmer was a Catholic  He was secretive about his private life and often gave different dates of birth to reporters  He fashioned his pseudonym from the names of two famous artists: actor and director Erich von Stroheim and writer Sax Rohmer, author of the Fu Manchu series  Rohmer was educated in Paris and received an advanced degree in history, though he seemed equally interested and learned in literature, philosophy, and theology 

Career as a journalist
Rohmer first worked as a teacher in Clermont-Ferrand  In the mid-1940s he quit his teaching job and moved to Paris, where he worked as a freelance journalist  In 1946 he published a novel, Elisabeth (AKA Les Vacances) under the pen name Gilbert Cordier  While living in Paris, Rohmer first began to attend screenings at Henri Langlois's Cinémathèque Française, where he first met and befriended Jean-Luc Godard, François Truffaut, Claude Chabrol, Jacques Rivette and other members of the French New Wave  Rohmer had never been very interested in film, preferring literature, but soon became an intense lover of films and about 1949 switched from journalism to film criticism  He wrote film reviews for such publications as Révue du Cinéma, Arts, Temps Modernes and La Parisienne In 1950, he co-founded the film magazine La Gazette du Cinéma with Rivette and Godard, but it was short-lived  In 1951 Rohmer joined the staff of André Bazin's newly founded film magazine Cahiers du Cinéma, of which he became the editor in 1956  There, Rohmer established himself as a critic with a distinctive voice; fellow Cahiers contributor and French New Wave filmmaker Luc Moullet later remarked that, unlike the more aggressive and personal writings of younger critics like Truffaut and Godard, Rohmer favored a rhetorical style that made extensive use of questions and rarely used the first person singular  Rohmer was known as more politically conservative than most of the Cahiers staff, and his opinions were highly influential on the magazine's direction while he was editor  Rohmer first published articles under his real name but began using "Éric Rohmer" in 1955 so that his family would not find out that he was involved in the film world, as they would have disapproved Rohmer's best-known article was "Le Celluloïd et le marbre" ("Celluloid and Marble", 1955), which examines the relationship between film and other arts  In the article, Rohmer writes that in an age of cultural self-consciousness, film is "the last refuge of poetry" and the only contemporary art form from which metaphor can still spring naturally and spontaneously In 1957 Rohmer and Claude Chabrol wrote Hitchcock (Paris: Éditions Universitaires, 1957), the earliest book-length study of Alfred Hitchcock  It focuses on Hitchcock's Catholic background and has been called "one of the most influential film books since the Second World War, casting new light on a filmmaker hitherto considered a mere entertainer"  Hitchcock helped establish the auteur theory as a critical method and contributed to the reevaluation of the American cinema that was central to that method 
By 1963 Rohmer was becoming more at odds with some of the more radical left-wing critics at Cahiers du Cinéma  He continued to admire US films while many of the other left-wing critics had rejected them and were championing cinéma vérité and Marxist film criticism  Rohmer resigned that year and was succeeded by Rivette 

Film career
1950–1962: Shorts and early film career
In 1950 Rohmer made his first 16mm short film, Journal d'un scélérat  The film starred writer Paul Gégauff and was made with a borrowed camera  By 1951 Rohmer had a bigger budget provided by friends and shot the short film Présentation ou Charlotte et son steak  The 12-minute film was co-written by and starred Jean-Luc Godard  The film was not completed until 1961  In 1952 Rohmer began collaborating with Pierre Guilbaud on a one-hour short feature, Les Petites Filles modèles, but the film was never finished  In 1954 Rohmer made and acted in Bérénice, a 15-minute short based on a story by Edgar Allan Poe  In 1956 Rohmer directed, wrote, edited and starred in La Sonate à Kreutzer, a 50-minute film produced by Godard  In 1958 Rohmer made Véronique et son cancre, a 20-minute short produced by Chabrol 
Chabrol's company AJYM produced Rohmer's feature directorial debut, The Sign of Leo (Le Signe du lion) in 1959  In the film an American composer spends the month of August waiting for his inheritance while all his friends are on vacation and gradually becomes impoverished  It included music by Louis Sagver  The Sign of Leo was later recut and rescored by distributors when Chabrol was forced to sell his production company, and Rohmer disowned the recut version  In 1962 Rohmer and Barbet Schroeder co-founded the production company Les Films du Losange (they were later joined by Pierre Coltrell in the late 1960s)  Les Films du Losange produced all of Rohmer's work (except his last three features produced by La Compagnie Eric Rohmer) 

1962–1972: Six Moral Tales and television work
Rohmer's career began to gain momentum with his Six Moral Tales (Six contes moraux)  Each of the films in the cycle follows the same story, inspired by F  W  Murnau's Sunrise: A Song of Two Humans (1927): a man, married or otherwise committed to a woman, is tempted by a second woman but eventually returns to the first For Rohmer, these stories' characters "like to bring their motives, the reasons for their actions, into the open, they try to analyze, they are not people who act without thinking about what they are doing  What matters is what they think about their behavior, rather than their behavior itself " The French word "moraliste" does not translate directly to the English "moralist" and has more to do with what someone thinks and feels  Rohmer cited the works of Blaise Pascal, Jean de La Bruyère, François de La Rochefoucauld and Stendhal as inspirations for the series : 292  He clarified, "a moraliste is someone who is interested in the description of what goes on inside man  He's concerned with states of mind and feelings " Regarding the repetition of a single storyline, he explained that it would allow him to explore six variations of the same theme  Plus, he stated, "I was determined to be inflexible and intractable, because if you persist in an idea it seems to me that in the end you do secure a following ": 295 The first Moral Tale was The Bakery Girl of Monceau (1963)  This 26-minute film portrays a young man, a college student, who sees a young woman in the street and spends days obsessively searching for her  He meets a second woman who works in a bakery and begins to flirt with her, but abandons her when he finally finds the first woman  Schroder starred as the young man and Bertrand Tavernier was the narrator  The second Moral Tale was Suzanne's Career (1963)  This 60-minute film portrays a young student who is rejected by one woman and begins a romantic relationship with a second  The first and second Moral Tales were never theatrically released and Rohmer was disappointed by their poor technical quality  They were not well known until after the release of the other four In 1963 Les Films du Losange produced the New Wave omnibus film Six in Paris, of which Rohmer's short "Place de l'Etoile" was the centerpiece : 290  After being driven out of his editor position at Cahiers, Rohmer began making short documentaries for French television  Between 1964 and 1966 Rohmer made 14 shorts for television through the Office de Radiodiffusion Télévision Française (ORTF) and Télévision Scolaire  These included episodes of Filmmakers of Our Time on Louis Lumiere and Carl Theodor Dreyer, educational films on Blaise Pascal and Stéphane Mallarmé, and documentaries on the Percival legend, the industrial revolution and female students in Paris  Rohmer later said that television taught him how to make "readable images"  He later said, "When you show a film on TV, the framing goes to pieces, straight lines are warped   the way people stand and walk and move, the whole physical dimension   all this is lost  Personally I don't feel that TV is an intimate medium " In 1964 Rohmer made the 13-minute short film Nadja à Paris with cinematographer Nestor Almendros Rohmer and Schroder then sold the rights of two of their short films to French television in order to raise $60,000 to produce the feature film La Collectionneuse in 1967, the third Moral Tale  The film's budget went only to film stock and renting a house in St  Tropez as a set  Rohmer described it as a film about l'amour par désoeuvrement ("love from idleness")  La Collectionneuse won the Jury Grand Prix at the 17th Berlin International Film Festival and was praised by French film critics, though US film critics called it "boring" The fourth Moral Tale was My Night at Maud's in 1969  The film was made with funds raised by Truffaut, who liked the script, and was initially intended to be the third Moral Tale  But because the film takes place on Christmas Eve, Rohmer wanted to shoot the film in December  Actor Jean-Louis Trintignant was not available so filming was delayed for a year  The film centers on Pascal's Wager and stars Trintignant, Françoise Fabian, Marie-Christine Barrault and Antoine Vitez  My Night at Maud's was Rohmer's first successful film both commercially and critically  It was screened and highly praised at the 1969 Cannes Film Festival and later won the Prix Max Ophüls  It was released in the US and praised by critics there as well  It eventually received Oscar nominations for Best Original Screenplay and Best Foreign Film  James Monaco wrote, "Here, for the first time the focus is clearly set on the ethical and existential question of choice  If it isn't clear within Maud who actually is making the wager and whether or not they win or lose, that only enlarges the idea of le pari ("the bet") into the encompassing metaphor that Rohmer wants for the entire series "The fifth Moral Tale was Le genou de Claire (Claire's Knee, 1970)  It won the Grand Prix at the San Sebastián International Film Festival, the Prix Louis Delluc and the Prix Méliès, and was a huge international success  Vincent Canby called it "something close to a perfect film " It was Rohmer's second film in color  Rohmer said, "the presence of the lake and the mountains is stronger in color than in black and white  It is a film I couldn't imagine in black and white  The color green seems to me essential in that film   This film would have no value to me in black and white "The sixth and final Moral Tale was 1972's Love in the Afternoon (released as Chloe in the Afternoon in the US)  Molly Haskell criticized the film for betraying the rest of the series by making a moral judgment of the main character and approving of his decision in the film Overall, Rohmer said he wanted the Six Moral Tales "to portray in film what seemed most alien to the medium, to express feelings buried deep in our consciousness  That's why they have to be narrated in the first person singular   The protagonist discusses himself and judges his actions  I film the process "

1972–1987: Adaptations and Comedies and Proverbs
Following the Moral Tales Rohmer wanted to make a less personal film and adapted a novella by Heinrich von Kleist, La Marquise d'O    in 1976  It was one of Rohmer's most critically acclaimed films, with many critics ranking it with My Night at Maud's and Claire's Knee  Rohmer stated that "It wasn't simply the action I was drawn to, but the text itself  I didn't want to translate it into images, or make a filmed equivalent  I wanted to use the text as if Kleist himself had put it directly on the screen, as if he were making a movie     Kleist didn't copy me and I didn't copy him, but obviously there was an affinity "In 1978 Rohmer made the Holy Grail legend film Perceval le Gallois, based on a 12th-century manuscript by Chrétien de Troyes  The film received mostly poor critical reviews  Tom Milne said that the film was "almost universally greeted as a disappointment, at best a whimsical exercise in the faux-naif in its attempt to capture the poetic simplicity of medieval faith, at worse an anticlimatic blunder" and that it was "rather like watching the animation of a medieval manuscript, with the text gravely read aloud while the images — cramped and crowded, coloured with jewelled brilliance, delighting the eye with bizarre perspectives — magnificently play the role traditionally assigned to marginal illuminations " In 1980 Rohmer made a film for television of his stage production of Kleist's play Catherine de Heilbronn, another work with a medieval setting Later in 1980 Rohmer embarked on a second series of films: the "Comedies and Proverbs" (Comédies et Proverbes), where each film was based on a proverb  The first "Comedy and proverb" was The Aviator's Wife, which was based on an idea that Rohmer had had since the mid-1940s  This was followed in 1981 with Le Beau Mariage (A Perfect Marriage), the second "Comedy and Proverb"  Rohmer stated that "what interests me is to show how someone's imagination works  The fact that obsession can replace reality " In his review of the film, film critic Claude Baignères said that "Eric Rohmer is a virtuoso of the pen sketch   [He had not been] at ease with the paint tubes that Persival required, [but in this film he created] a tiny figurine whose every feature, every curl, every tone is aimed at revealing to us a state of soul and of heart " Raphael Bassan said that "the filmmaker fails to achieve in these dialogues the flexibility, the textual freedom of The Aviator's Wife  A Perfect Marriage is only a variation on the spiritual states of the petty bourgeoise who go on and on forever about the legitimacy of certain institutions or beliefs confronted by problems of the emotions  Quite simply, this is a minor variation on this central Rohmerian theme "The third "Comedy and proverb" was Pauline at the Beach in 1983  It won the Silver Bear for Best Director at the 33rd Berlin International Film Festival  It was based on an idea that Rohmer had in the 1950s, originally intended for Brigitte Bardot  Rohmer often made films that he had been working on for many years and stated "I can't say 'I make one film, then after that film I look for a subject and write on that subject   then I shoot ' Not at all   these are films that are drawn from one evolving mass, films that have been in my head for a long time and that I think about simultaneously "The fourth "Comedy and Proverb" was Full Moon in Paris in 1984  The film's proverb was invented by Rohmer himself: "The one who has two wives loses his soul, the one who has two houses loses his mind " The film's cinematographer Renato Berta called it "one of the most luxurious films ever made" because of the high amount of preparation put into it  The film began with Rohmer and the actors discussing their roles and reading from the film's scenario while tape recording the rehearsals  Rohmer then re-wrote the script based on these sessions and shot the film on Super 8mm as a dress rehearsal  When the film was finally shot, Rohmer often used between two and three takes for each shot, and sometimes only one take  Alain Bergala and Alain Philippon have stated that "all the art of Eric Rohmer consists of creating on the set a veritable osmosis among himself, the actors and the technicians " Rohmer even encouraged actress Pascale Ogier to design sets for the film since her character is an interior decorator  Ogier later won the Best Actress award at the Venice Film Festival  Alain Philippon called the film "one of the most accomplished films that Rohmer has given us   and that if the film moves it is because of its own risk-taking "The fifth "Comedy and Proverb" was The Green Ray in 1986  Rohmer explained that "I was struck by the naturalness of television interviews  You can say that here, nature is perfect  If you look for it, you find it because people forget the cameras " As was becoming his custom in pre-production, Rohmer gathered his cast together to discuss the project and their characters, but then allowed each actor to invent their own dialogue  Rohmer stated that lead actress Marie Rivière "is the one who called the shots, not only by what she said, but by the way she'd speak, the way she'd question people, and also by the questions her character evoked from the others " The film was shot chronologically and in 16mm so as to be "as inconspicuous as possible, to have Delphine blend into the crowd as a way, ultimately, of accentuating her isolation " Rohmer also instructed his cinematographer Sophie Maintigneux to keep technical aspects of the shoot to a minimum so as to not interrupt or distract the actors  The film's only major expense was a trip to the Canary Islands in order to film the green rays there  Rohmer chose to première the film on Canal Plus TV, a pay-TV station that paid $130,000 for the film, which was only one fifth of its budget  Rohmer stated that "Cinema here will survive only because of television  Without such an alliance we won't be able to afford French films "  The experiment paid off when the film was a theatrical hit after being released three days after its initial broadcast   It won the Golden Lion and the FIPRESCI Prize at the 1986 Venice Film Festival   It was mostly praised by film critics, although Alain Robbe-Grillet wrote an unfavorable review and stated "I didn't like it very much "The Sixth "Comedy and Proverb" was Boyfriends and Girlfriends (L'Ami de mon amie) in 1987 

1987–2009: Tales of the Four Seasons and later film career
He followed these with a third series in the 1990s: Tales of the Four Seasons (Contes des quatre saisons)  Conte d'automne or Autumn Tale was a critically acclaimed release in 1999 when Rohmer was 79  The previous titles of the series were A Tale of Springtime (1990), A Tale of Winter (1992), and A Summer's Tale (1996) 
Beginning in the 2000s, Rohmer, in his eighties, returned to period drama with The Lady and the Duke and Triple Agent  The Lady and the Duke caused considerable controversy in France, where its negative portrayal of the French Revolution led some critics to label it monarchist propaganda   Its innovative cinematic style and strong acting performances led it to be well received elsewhere 
In 2001, his life's work was recognised when he received the Golden Lion at the Venice Film Festival In 2007, Rohmer's final film, The Romance of Astrea and Celadon, was shown during the Venice Film Festival, at which he spoke of retiring 

Style
Rohmer's films concentrate on intelligent, articulate protagonists who frequently fail to own up to their desires  The contrast between what they say and what they do fuels much of the drama in his films  Gerard Legrand once said that "he is one of the rare filmmakers who is constantly inviting you to be intelligent, indeed, more intelligent than his (likable) characters " Rohmer considered filmmaking to be "closer to the novel—to a certain classical style of novel which the cinema is now taking over—than the other forms of entertainment, like the theater "Rohmer saw the full-face closeup as a device that does not reflect how we see each other and avoided its use  He avoids extradiegetic music (not coming from onscreen sound sources), seeing it as a violation of the fourth wall  He has on occasion departed from the rule by inserting soundtrack music in places in The Green Ray (1986) (released as Summer in the United States)  Rohmer also tends to spend considerable time in his films showing his characters going from place to place, walking, driving, bicycling or commuting on a train, engaging the viewer in the idea that part of the day of each individual involves quotidian travel  This was most evident in Le Beau Mariage (1982), which had the female protagonist constantly traveling, particularly between Paris and Le Mans 
Rohmer typically populates his films with people in their twenties and the settings are often on pleasant beaches and popular resorts, notably in La Collectionneuse (1967), Pauline at the Beach (1983), The Green Ray (1986) and A Summer's Tale (1996)  These films are immersed in an environment of bright sunlight, blue skies, green grass, sandy beaches, and clear waters  He explained that "people sometimes ask me why most of the main characters in my films are young  I don't feel at ease with older people     I can't get people older than forty to talk convincingly "Rohmer preferred to use non-professional actors in his films  He usually held a large number of rehearsals before shooting and would shoot his films very quickly  He spent little time editing his films  He usually shot his films chronologically, and often shot scenes during the time of day in which they took place  He explained that "my films are based on meteorology  If I didn't call the weather service everyday, I couldn't make my films because they're shot according to the weather outside  My films are slaves to weather "The director's characters engage in long conversations—mostly talking about man–woman relationships but also on mundane issues like trying to find a vacation spot  There are also occasional digressions by the characters on literature and philosophy as most of Rohmer's characters are middle class and university educated 
A Summer's Tale (1996) has most of the elements of a typical Rohmer film: no soundtrack music, no close-ups, a seaside resort, long conversations between beautiful young people (who are middle class and educated) and discussions involving the characters' interests from songwriting to ethnology 
Rohmer said he wanted to look at "thoughts rather than actions", dealing "less with what people do than what is going on in their minds while they are doing it "
Beginning in the late 1970s during the production of Perceval le Gallois Rohmer began to reduce the number of crew members on his films  He first dispensed with the script supervisor, then (controversially) cut out the assistant director, then all other assistants and technical managers until, by the time he shot The Green Ray in 1986, his crew consisted only of a camera operator and a sound engineer  Rohmer stated that "I even wonder if I could work in the usual conditions of filmmaking "His style was famously criticised by Gene Hackman's character in the 1975 film Night Moves who describes viewing Rohmer's films as "kind of like watching paint dry" Rohmer was a highly literary man  His films frequently refer to ideas and themes in plays and novels, such as references to Jules Verne (in The Green Ray), William Shakespeare (in A Winter's Tale) and Pascal's wager (in Ma nuit chez Maud) 

Personal life and death
Rohmer's brother was the philosopher René Schérer  In 1957, Rohmer married Thérèse Barbet  The couple had two sons  The elder, René Monzat (b  1958), is an author and investigative journalist at, most recently, Le Monde and Mediapart  His work focuses on the French far-right Rohmer was a devout Catholic and "ecological zealot"  For years he had no telephone and refused to get into cars, which he called "immoral pollutors"  For many years he was known to jog two miles to his office every morning  He was well known for his need for personal privacy and sometimes wore disguises, such as a false moustache at the New York premiere of one of his films  Rohmer's mother died without ever knowing that her son was a famous film director 

Rohmer died on the morning of 11 January 2010 at the age of 89 after a series of strokes : 1345  He had been admitted to hospital the previous week The former Culture Minister Jack Lang called Rohmer "one of the masters of French cinema"  Director Thierry Fremaux called his work "unique" Rohmer's grave is in district 13 of Montparnasse Cemetery 
At the 2010 César Awards, actor Fabrice Luchini presented a special tribute to Rohmer:

I'm going to read a remarkable text written by Jacques Fieschi, writer, director, creator of "the cinematographe", challenger of Les cahiers du cinéma, which recently published a special edition on Eric Rohmer  Truffaut once said he was one of the greatest directors of the 20th century, Godard was his brother, Chabrol admired him, Wenders couldn't stop taking photos of him  Rohmer is a tremendous international star  The one and only French director who was in coherence with the money spent on his films and the money that his films made  I remember a phrase by Daniel Toscan Du Plantier the day Les Visiteurs opened, which eventually sold 15 million tickets: "Yes but there is this incredible film called L'arbre, le maire et la médiathèque that sold 100,000 tickets, which may sound ridiculous in comparison, but no, because but it was only playing in one theater for an entire year " A happy time for cinema when this kind of thing could happen  Rohmer  Here is a tribute from Jacques Fieschi: "We are all connected with the cinema, at least for a short time  The cinema has its economical laws, its artistic laws, a craft that once in a while rewards us or forgets us  Éric Rohmer seems to have escaped from this reality by inventing his own laws, his own rules of the game  One could say his own economy of the cinema that served his own purpose, which could skip the others, or to be more accurate that couldn't skip the audience with its originality  He had a very unique point of view on the different levels of language and on desire that is at work in the heart of each and every human being, on youth, on seasons, on literature, of course, and one could say on history  Éric Rohmer, this sensual intellectual, with his silhouette of a teacher and a walker  As an outsider he made luminous and candid films in which he deliberately forgot his perfect knowledge of the cinema in a very direct link with the beauty of the world " The text was by Jacques Fieschi and it was a tribute to Éric Rohmer  Thank you 
On 8 February 2010, the Cinémathèque Française held a special tribute to Rohmer that included a screening of Claire's Knee and a short video tribute to Rohmer by Jean-Luc Godard 

Awards and nominations
Filmography
Features
Notes
Passage 3:
Julie Bertuccelli
Julie Mathilde Charlotte Claire Bertuccelli is a French director born February 12, 1968, in Boulogne-Billancourt She is particularly known for her documentary La Cour de Babel released in 2014 and the feature film L'Arbre released in 2010 

Biography
After studies in hypokhâgne, then khâgne, and a master of philosophy, Julie Bertuccelli became, for ten years, assistant director on many feature films, TV movies and short films with Otar Iosseliani, Rithy Panh, Krzysztof Kieślowski, Emmanuel Finkiel, Bertrand Tavernier, Jean-Louis Bertuccelli, Christian de Chalonge, René Féret, and Pierre Etaix Following an introduction to documentary filmmaking in 1993 at Ateliers Varan, she directed fifteen documentaries for Arte, France 3 and France 5, including Une liberté!, La Fabrique des Judges, Welcome to the department store, A world in fusion, Otar Iosseliani, the whistling blackbird, The Glasberg Mystery, Antoinette Fouque, what is a woman?    
His first feature film Since Otar left     has been crowned by twenty awards in France and abroad, including the Grand Prize of the Critics' Week at the 2003 Cannes Film Festival, the César de la meilleur first work in 2004, the Marguerite Duras Prize 2003 and the Michel d'Ornano Award 2003 in Deauville 
L'Arbre is her second feature film  It was nominated for three Césars Her documentary The Court of Babel, released in theaters in March 2014, has been selected in several festivals, including those of New York, Rome, Abu Dhabi, Sheffield, Rio, Montreal, Tokyo, Cairo, and San Francisco 
Her documentary Latest News from the Cosmos (November 2016), received the Audience Award from the Rencontres du Cinéma Documentaire in Montreuil and the FIFA Grand Prix in Montreal (2018) 
Her last feature film, Claire Darling with Catherine Deneuve and Chiara Mastroianni, released in French theaters in February 2019 Claire Darling grossed $0 in North America and a total worldwide of $1 million  With 85 000 spectators in France, the film is a heavy public failure 
Julie Bertuccelli has chaired the Scam since June 2017, having been the first woman elected to this position in 2013, as well as the brand new Cinematheque of the documentary she created with Scam (with which she also created the Eye of 'Or, the Documentary Prize at the Cannes Film Festival in 2015)  She was co-chair with Michel Hazanavicius of the Civil Society of Producers' Authors Producers (ARP) in 2016 
She is the daughter of the director Jean-Louis Bertuccelli and the widow of cinematographer Christophe Pollock 

Filmography
Director
Documentaries
1993: Un métier comme un autre
1994: Une liberté !
1995: Un dimanche en champagne
1995: Le Jongleur de Notre-Dame
1996: Trait d'union
1996: Saint-Denis, les couleurs de la ville
1997: La Fabrique des juges
1999: Bienvenue au grand magasin
2000: Les Îles éoliennes (coll  Voyages, Voyages)
2006: Un monde en fusion
2006: Otar Iosseliani, le merle siffleur (Coll  Cinéastes de notre temps)
2007: Stage Les chantiers nomades: l'acteur concret au cinéma, autour des objets
2008: Le Mystère Glasberg
2008: Antoinette Fouque, qu'est-ce qu'une femme (Coll  Empreintes)
2014: La Cour de Babel
2016: Dernières nouvelles du cosmos

Feature films
2003: Depuis qu'Otar est parti…
2010: L'Arbre
2018:  Claire Darling

Scriptwriter
2002: Depuis qu'Otar est parti…
2010: L'Arbre
2018: Claire Darling

Assistant director
1988–1990: Divers série: Salut les homards, Les six compagnons, Souris noire from Pierre Étaix
1990: Aujourd'hui peut-être from Jean-Louis Bertuccelli
1990: Kaminsky, un flic à Moscou from Stéphane Kurc
1991: Promenades d'été from René Féret
1991: La Chasse aux papillons from Otar Iosseliani
1992: Precheur en eau trouble from Georges Lautner
1992: Trois couleurs: Bleu from Krzysztof Kieślowski
1992: Trois couleurs: Blanc from Krzysztof Kieślowski
1993: Les Dessous du Moulin Rouge from Nils Tavernier
1994: Le Clandestin from Jean-Louis Bertuccelli
1994: Madame Jacques sur la Croisette from Emmanuel Finkiel
1995: L'Appât from Bertrand Tavernier
1995: Le Bel Été 1914 from Christian de Chalonge
1996: Brigands, chapitre VII from Otar Iosseliani
1997: Un soir après la guerre from Rithy Panh

See also
List of female film and television directors
Passage 4:
Ian Barry (director)
Ian Barry is an Australian director of film and TV 

Select credits
Waiting for Lucas (1973) (short)
Stone (1974) (editor only)
The Chain Reaction (1980)
Whose Baby? (1986) (mini-series)
Minnamurra (1989)
Bodysurfer (1989) (mini-series)
Ring of Scorpio (1990) (mini-series)
Crimebroker (1993)
Inferno (1998) (TV movie)
Miss Lettie and Me (2002) (TV movie)
Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)
The Doctor Blake Mysteries (2013)
Passage 5:
L'Arbre, le maire et la médiathèque
The Tree, the Mayor and the Mediatheque (French: L'Arbre, le maire et la médiathèque; known also as Les sept hasards) is a 1993 French comedy-drama film written and directed by Éric Rohmer  The film was shown at the 1993 Montreal World Film Festival where it received the FIPRESCI prize  
The frame story involves the mayor of an isolated French village who, to further his political ambitions, secures a grant to build a sporting and cultural centre, but the necessary felling of a fine willow outrages the schoolteacher and his daughter  Within the frame there is much debate about the current state of France: city versus country, agriculture versus industry, conservatism versus progress, the environment versus growth 

Plot
In Saint-Juire-Champgillon, a remote village of traditional left-wing adherence in the Vendée, Julien Dechaumes has inherited the manor house and grounds and has been elected mayor, though he spends much of his time in Paris with his mistress  There he successfully lobbies the Ministry of Culture for a grant to build a state-of-the-art sports and media centre  By enhancing his reputation in the area, it will boost his chances of entering national politics under the socialist banner  
Opinion in the village is mixed, with the most passionate opposition coming from the schoolteacher, for whom the destruction of a 100-year-old willow symbolises all that is wrong about the plan  When a journalist on a left-wing magazine visits the village to talk to people, her editor cuts her piece to focus on the teacher and the tree  The teacher's ten-year-old daughter explains to the mayor that all the children want is not the sophisticated facilities on offer but just green space and trees  A survey reveals that the water table has dropped alarmingly, needing costly groundworks that make the whole project unviable 

Cast
Pascal Greggory as Julien Dechaumes, the mayor
Arielle Dombasle as Bérénice Beaurivage, the mayor's lover
Fabrice Luchini as Marc Rossignol, the school teacher
Clémentine Amouroux as Blandine Lenoir, the reporter
François-Marie Banier as Régis Lebrun-Blondet, the magazine editor

External links
The Tree, the Mayor and the Mediatheque at IMDb
The Tree, the Mayor and the Mediatheque at AllMovie
The Tree, the Mayor and the Mediatheque at Rotten Tomatoes
Passage 6:
William le Maire de Warzée d'Hermalle
William "Willy" le Maire de Warzée d'Hermalle (French pronunciation: ​[wiljam lə mɛːʁ də vaʁtse dɛʁmal]; 7 March 1879 –1966) was a Belgian tennis player  He has been named as among the best male tennis players in Belgian history Le Maire de Warzée d'Hermalle reached the quarterfinals of Wimbledon in 1904 and 1908 Le Maire de Warzée d'Hermalle was born into the Belgian nobility, the son of Marie-Léon-Hubert le Maire Warzée d'Hermalle (born 1848) and Noëmie Constance Caroline Georgine Valérie de Warzée d'Hermalle (born in Beaufays in 1850)  His elder brother, Marie-Georges-Gérard-Léon le Maire de Warzée d'Hermalle, Baron de Warzée d'Hermalle (1877–1931), was a diplomat and Belgian ambassador to Iran, Japan and China, who married Dorothy Hall, daughter of Irish writer Owen Hall 
Passage 7:
Olav Aaraas
Olav Aaraas (born 10 July 1950) is a Norwegian historian and museum director 
He was born in Fredrikstad  From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History  In 2010 he was decorated with the Royal Norwegian Order of St  Olav 
Passage 8:
Isaac Le Maire
Isaac Le Maire  (c  1558 in Tournai – September 20, 1624 in Egmond aan den Hoef) was a Walloon-born entrepreneur, investor, and a sizeable shareholder of the Dutch East India Company (VOC)  He is best known for his constant strife with the VOC, which ultimately led to the discovery of Cape Horn 
Isaac Le Maire was born in 1558 or 1559 in Tournai  He learned the trade from his merchant brother-in-law Jacques van de Walle  Isaac had four brothers, three of whom were merchants  Already in 1584 he was registered in Antwerp as a wealthy grocer  At the time, he was also captain of the company of the Antwerp militia  He rented the house of Bourgognien Schilt, but in 1585 after the fall of Antwerp he fled to the northern Netherlands 
In 1585 he settled in Amsterdam  He was married in Antwerp to Maria Jacobsdr  Walraven and they had 22 children, and one of them, his son Jacob, would go down in history as an explorer  In 1641 his son Maximiliaen became the first VOC chief of Dejima in Japan 
Initially, Isaac Le Maire was the largest shareholder in the VOC 

Merchant in Amsterdam
In 1592 his name was registered for the first time in Amsterdam as a participant in the oldest marine insurance policy  In the following years he grew into the trade in European waters  Initially, he wasn't one of the wealthiest merchants, but he could make major investments by ensuring warrant positions within the direct and indirect family network  
Together with Peter van de Pulle and Dirck van Os he constituted a company for trading in Russia  They carried Baltic grain and timber to Spain  Ships with leather, wax, fur and caviar from Archangelsk often were destined for Venice and Livorno  They also traded in bills of exchange, chartering and marine insurances  Between 1594 and 1598 he had a major position in the fish trade between British ports and Spain 
After Cornelis de Houtman made the first trip to the Indies from 1595 to 1597, Le Maire, like many other merchants, plunged into the Indian adventure  In 1599 he and several others in Amsterdam established the Brabant Company, which carried out two voyages to the Indies  The Brabant Company was very successful, it quickly yielded the company 400% profit 
In 1600 he decided to concentrate on trade with the East Indies, but at that time he already acted in the West Indies as well  In 1601 he officially became a citizen of Amsterdam, which was no doubt because of the merger of the New Brabant Company and the Old Company into the First United East Indies Company in Amsterdam  This company, in which Le Maire was a participant, fitted out eight ships to the Indies, led by Jacob van Heemskerk 

Shareholder of the Dutch East India Company
In 1602, at the insistence of Johan van Oldenbarnevelt, all Dutch trading companies merged into the Vereenigde Oostindische Compagnie (VOC) (also known as the Dutch East India Company)  Le Maire applied for shares for the sum of 85,000 guilders and he became the largest shareholder in the VOC   He got the high position of governor of the VOC  But he soon fell into conflict with the VOC and the Amsterdam Consistory as a result of malpractice concerning the journey of Wybrand van Warwijck in 1602  There were rumours that Le Maire intentionally did not submit receipts and other evidence of his share in the costs  The partners of the VOC let him be sued by the sheriff, but Le Maire settled the matter for 1200 guilders  The details of the offence were held secret  Because of this matter le Maire was forced to leave the VOC in 1605, while he also had to waive acting as a competitor of the VOC  This event was the foundation of his resentment and opposition against the VOC for the rest of his life  After leaving the VOC, he threw himself upon the European coasting trade, especially in grain  However, the thought of the lucrative trade with the Indies haunted him 

Competitor of the Dutch East India Company
Le Maire found his first opportunity to thwart the VOC in the efforts of France to set up a French trading company for India  King Henry IV of France invited him in 1607 for that purpose  Le Maire advised the French on the establishment and organization of a company, and in doing so ignored the competition stipulation with the VOC  However, at that time a French company was not yet established 
Next came the idea to involve Henry Hudson in the French plans  Hudson had already made two unsuccessful attempts for England to find a new North-Eastern passage, and in 1608 he came to the Netherlands to interest the VOC for that plan  He came in contact with Le Maire who proposed to the king of France to finance this expedition  With this attempt to find a new route to the Indies, Le Maire would not commit a breach of contract with the VOC, because the VOC only had a patent to trade via the Cape of Good Hope and the Strait of Magellan, until then the only two known routes to the Indies  The VOC got scent of this intention and offered Hudson a better contract, which ultimately led to his famous third voyage in 1609, discovering the river that was named after him  After the VOC had caught away Hudson, Le Maire and the king of France secretly came to an agreement to make the North-Eastern journey with another captain  The newly to be discovered strait would be named after the French king, and the new discoveries would be made under the French flag  However, the voyage, led by Melchior van den Kerckhove, was a failure 
In 1609, Isaac Le Maire travelled together with Joris van Spilbergen, Balthazar de Moucheron and others to Paris, again to discuss the formation of a French East India Company  De Moucheron played a double role in these discussions, because at one point he asked the ambassador of the Netherlands what it would be worth if he would disrupt the proceedings  The discussions so flagged because of mistrust by the French in Le Maire  Within the VOC the intrigues of Le Maire led to indignation, but it did not result in actual actions against him, probably because the Republic was not looking for a conflict with France during the war with Spain  In 1610 the King of France was killed and thus plans for a French East India Company were shelved 

Speculator against the Dutch East India Company
Isaac Le Maire also tried to use his knowledge of the VOC to cross the company financially  In 1609 he and eight others founded a secret company with the purpose to trade in VOC shares  Le Maire owned nearly one quarter of its shares  This so-called "Grote Compagnie" sold short shares of the VOC, that is, without actually owning them  By the time these shares were to be delivered, there was an interest in keeping the share price as low as possible  Le Maire probably expected that the competition by the still to be created French East India Company would ensure that the share price of the VOC dropped significantly  However, the French company was shelved  Rumours were spread to depress the prices, anyway  Such activities were detrimental to the (existing) VOC shareholders, who sometimes were forced to sell their shares at a low price  In particular, in 1609 the share price fell significantly, and the VOC imputed this to the machinations of Le Maire 
The VOC attempted via the States-General of the Netherlands to impose restrictions on free trade in VOC shares, which the company of Le Maire fiercely resisted  They claimed, the price drop was the result of the bad course of actions of the VOC  But the States-General decided in 1610 to prohibit the sale of shares not in possession (short selling)  During 1610 and 1611 the stock price of the VOC increased  The company of Le Maire then suffered big losses because many shares had to be delivered at a lower price than the market  They were therefore compelled to deliver shares at a loss  Several members of his company went bankrupt and Le Maire had also suffered significant losses, but he could still meet his obligations  This fiasco led him to withdraw from Amsterdam 

Dutch East India Company monopoly broken
Isaac Le Maire sold his property in Amsterdam and retired to his possessions in Egmond aan den Hoef, which he had bought between 1598 and 1600 from the estate of the Count of Egmont  After some time, he again started to make plans to break the VOC monopoly  The VOC owned by patent from the States-General the Dutch monopoly on travels to the Indies via the Cape of Good Hope and through the Strait of Magellan, until then the only two known passages to the Indies  From various travel accounts Le Maire assumed that south of the Magellan Strait another passage from the Atlantic to the Pacific Ocean could exist  In 1614 he founded the Austraalse Compagnie for the purpose of discovering this passage, which would fall outside the VOC monopoly  The voyage was prepared in Hoorn  Two ships were fitted out, the Eendracht and the Hoorn  The journey would be made under the responsibility of his son Jacob Le Maire  Willem Schouten was recruited as an experienced captain  The sailing orders expressly forbade a passage through the Strait of Magellan, even if a new route to the Pacific Ocean could not be found  Furthermore, the expedition was forbidden to trade on the coasts where the VOC had a trading post  At that time, there was still the expectation that a great unknown South Land would exist  Isaac Le Maire hoped to discover it, and in this way tap into an unimagined trading area  But above all, his motive was to circumvent the VOC monopoly  But Isaac gave his son a remarkable secret instruction: although the official sailing order was that no trade should be driven on the coasts where the VOC was established, on arrival in the Indies his son had to make clear to the administrators of the VOC that their monopoly had not been violated, because they had not sailed via the Cape of Good Hope or the Strait of Magellan  Then, he should ask permission to still be allowed to trade  Isaac le Maire anticipated it would not be granted, so Jacob would then have to do everything needed to win Governor-General Gerard Reynst, who had been, like Isaac Le Maire, a participant in the Brabant Company, for their cause  This even went so far as to Jacob asking Van Reynst the hand of one of his daughters  In this way Isaac le Maire tried to sow dissension within the VOC, because if Gerard Reynst allowed them to trade in this way it could lead to a major conflict within the VOC 
On June 14, 1615 the two ships set sail from Texel  The journey was a success in that, with the discovery of the passage round Cape Horn, the monopoly of the VOC was indeed broken, but the unknown South Land was not discovered, and the secret instruction could not be put into action because Gerard Reynst was already deceased 
After the ships had left Texel, the VOC got wind of the real intention of the travel  Therefore, the order was sent to the Indies that, if the expedition would arrive there, the ships would have to be confiscated because of a breach of the VOC's patent  And so it happened  Jacob Le Maire and Willem Schouten were sent back to the Republic, but Jacob Le Maire died during the return voyage  The VOC attempted to rewrite history by assigning the new discoveries to Willem Schouten 

The aftermath of the voyage
Isaac Le Maire had to fight many years to obtain his right  In 1619 the court ruled that the ship Eendracht was unlawfully seized by the VOC  The journals were to be returned to Le Maire, and in 1622 Le Maire could finally publish the Spieghel der Australische Navigatie door den Wijtvermaerden ende Cloeckmoedighen Zee-heldt Jacob Le Maire, to do justice to the discoveries of his son  For the damage, he was awarded 64,000 pounds  However, the court ruled that the Austraalse Compagnie was not allowed to trade in the Indian region, but that they did have the right to travel across the newly discovered route around Cape Horn  However, one year earlier the Dutch West India Company was established and in its patent it received also the monopoly on travels through the Strait of Magellan and other routes in that region  This was contrary to the rights that were granted to Le Maire's Austraalse Compagnie 
Le Maire died on September 20, 1624  He was buried in the Buurkerk in Egmond-Binnen, and on his tombstone he had written that he had lost during 30 years (except for his honour) 1 5 million guilders, a considerable sum at that time  His Australian Company continued the legal fight, but ultimately the States-General decided in 1644 to the detriment of the company 

See also
Financial history of the Dutch Republic
Passage 9:
Dana Blankstein
Dana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School  She was appointed by the board of directors  in November 2019   Previously she was the CEO of the Israeli Academy of Film and Television  She is a film director, and an Israeli culture entrepreneur 

Biography
Dana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein  She moved to Israel in 1983 and grew up in Tel Aviv 
Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors  During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners   She also directed and shot 'the making of' film on Gavison's film Lost and Found  Her debut film Camping competed at the Berlin International Film Festival, 2007 

Film and academic career
After her studies, Dana founded and directed the film and television department at the Kfar Saba municipality  The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities 
Blankstein directed the mini-series "Tel Aviviot" (2012)  From 2016-2019 was the director of the Israeli Academy of Film and Television 
In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab  In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem 

Filmography
Tel Aviviot (mini-series; director, 2012)
Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)
Camping (debut film, Sam Spiegel; director and screenwriter, 2006)
Passage 10:
Peter Levin
Peter Levin is an American director of film, television and theatre 

Career
Since 1967, Levin has amassed a large number of credits directing episodic television and television films  Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films  He directed "Heart in Hiding", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s 
Prior to becoming a director, Levin worked as an actor in several Broadway productions  He costarred with Susan Strasberg in "[The Diary of Ann Frank]" but had to leave the production when he was drafted into the Army  He trained at the Carnegie Mellon University  Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company  He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company 
Context 2: Passage 1:
Ravi Tandon
Ravi Tandon (17 February 1935 – 11 February 2022) was an Indian film director and producer  He also worked as an assistant director and story writer  He is the father of actress Raveena Tandon 
Ravi Tandon directed a number of hit movies, the most popular among these are Khel Khel Mein, Anhonee, Nazrana, Majboor, Khud-daar, Zindagi  Ravi Tandon was born in a Punjabi family in Agra  Tandon and his wife Veena had a son Rajeev, a producer and director who made the television series Heena, and a daughter, film actress Raveena Tandon  His directorial venture Nazrana with Rajesh Khanna in the lead was the 5th highest grosser of the year in 1987  He died of respiratory failure at his residence in Mumbai on 11 February 2022, at the age of 86, just six days before his 87th birthday  He had pulmonary fibrosis in the last few years of his life 

Filmography
Passage 2:
Driver Babu
Driver Babu is a 1986 Indian Telugu language action drama film directed by Boyina Subba Rao starring Sobhan Babu and Radha  A remake of the Hindi film, Khud-daar, it emerged as a critical and commercial success 

Cast
Sobhan Babu as Raja aka Driver Babu
Radha as Gowri
Kaikala Satyanarayana as Madhava Rao
Tulasi as Radha
Rajya Lakshmi as Chandini
Pramila
Ponni
Gummadi as Narayana Rao
Rajesh as Ravi
Prabhakar Reddy as Keshava Rao
P  L  Narayana as Raheem Chacha
Veerabhadra Rao as Dakshinamurthy
Raja Varma
Gokina Rama Rao as Public Prosecutor
Bheema Raju
Senthil
K  K  Sharma

Soundtrack
Soundtrack was composed by K  Chakravarthy 
"Nunnaga" - S  P  Balasubrahmanyam, P  Susheela
"Mundepu" - S  P  Balasubrahmanyam, P  Susheela
"Oosoci" - S  P  Balasubrahmanyam
"Yelomaanu" - P Susheela
"Mudduku" - S  P  Balasubrahmanyam, P  Susheela
Passage 3:
Rumbi Katedza
Rumbi Katedza is a Zimbabwean Film Producer and Director who was born on 17 January 1974 

Early life and education
She did her Primary and Secondary Education in Harare, Zimbabwe  Katedza graduated with a Bachelor of Arts in English from McGill University, Canada in 1995  In 2008 Katedza received the Chevening Scholarship that enabled her to further her studies in film  She also holds a MA in Filmmaking from Goldsmiths College, London University 

Work and filmography
Katedza has experience in Film and TV Production, Directing, Writing as well as Producing and presenting Radio shows  From 1994 to 2000, She produced and presented radio shows on Women's issues, Arts and Culture, Hip Hop and Acid Jazz for the CKUT (Montreal) and ZBC Radio 3 (Zimbabwe)  From 2004 - 2006, she served as the Festival Director of the Zimbabwe International Film Festival  Whilst there, she produced the Postcards from Zimbabwe Series  In 2008, Katedza founded Mai Jai Films and has produced numerous films and television productions under the banner namely

Tariro (2008);
Big House, Small House (2009);
The Axe and the Tree (2011);
The Team (2011)
Playing Warriors (2012)Her early works include:

Danai (2002);
Postcards from Zimbabwe (2006);
Trapped (2006 – Rumbi Katedza, Marcus Korhonen);
Asylum (2007);
Insecurity Guard (2007)Rumbi Katedza is a part-time lecturer at the University of Zimbabwe, in the department of Theatre Arts  She is a judge and monitor at the National Arts Merit Awards, responsible for monitoring new film and TV productions throughout the year on behalf of the National Arts Council of Zimbabwe  She has also lobbied Zimbabwean government to actively support the film industry 
Passage 4:
Khud-Daar
Khud-Daar (transl  Self-Respecting) is a 1982 Indian Hindi-language action film directed by Ravi Tandon  The music is by Rajesh Roshan and the lyrics by Majrooh Sultanpuri  The film stars Amitabh Bachchan, Sanjeev Kumar, Parveen Babi, Vinod Mehra, Prem Chopra, Mehmood, Bindiya Goswami and Tanuja in pivotal roles  It was remade in Tamil as Padikkadhavan and in Telugu as Driver Babu 

Plot
Govind and Rajesh  are two brothers who are happy being brought up by their considerably older stepbrother Hari  However, when Hari has to leave home for two months to complete his law degree, his newly married wife Seema, jealous of her husband's excessive affection for the two, illtreats them, forcing them to leave home and escape to Bombay 
After days spent doing menial labour, the two brothers are finally given a home by the widower Rahim, who has a son Anwar and daughter Farida  Govind takes on the responsibility of providing for his brother's education by becoming the taxi-driver Chhotu Ustad  Rajesh, however, is ambitious and foppish, and spurns his brother and the latter's pride by marrying the rich Seth Verma's daughter Manju and staying at his father-in-law's mansion 
Verma's brother Bansi, who has actually been instrumental in fixing up this marriage, employs the unsuspecting Rajesh to carry on a drug-smuggling trade using the vehicles of the Verma Transport Company, owned by the Seth  One such operation is foiled by the police, and Anwar, also mixed up in his business, is left seriously injured  Bansi's men attempt to kidnap Anwar to destroy evidence when Govind is not at home  In the skirmish that ensues, Rahim is shot fatally 
In the aftermath of the tragedy and Rajesh's realisation of how he has been used by Bansi, Rajesh seeks his brother's mercy  However, at this very moment, Bansi murders Seth Verma and tries to frame Rajesh for it  However, it is Govind who is found at the scene of the crime and accused of murder  The judge at his trial is Hari, who is now one of the leading legal eagles in the city  In the course of the trial, the real identity of the accused and his brother are revealed to Hari  Hari now steps down as judge and becomes Govind's defense attorney  Through a series of astute investigations, he unearths the truth  Bansi, cornered, attempts to shoot Hari and escapes the courtroom, but is finally tracked down by Govind in his beloved taxi 'Basanti'  As the smuggler is arrested, the three brothers are reconciled
Context 3: Passage 1:
Nola Fairbanks
Nola Fairbanks (born Nola Jo Modine; December 10, 1924 – February 8, 2021) was an American actress  She was also the aunt of actor Matthew Modine 

Early life
Fairbanks was born Nola Jo Modine in Santa Paula, California, on December 10, 1924, the daughter of Zella Vonola Fairbanks and Alexander Revard Modine  She is the granddaughter of Mormon pioneers Ralph Jacobus Fairbanks (aka R J  "Dad" Fairbanks) and Celestia Adelaide (Johnson) Fairbanks, from Payson, Utah and Death Valley, California  She is a descendant of Jonathan Fairbanks, whose 17th century wood-frame house still stands in Dedham, Massachusetts As a child, she joined the Meglin Kiddies Dance Troupe where Shirley Temple was also a student  While her father, Alexander Revard Modine, worked for the Texaco Oil Company, Nola Jo's mother, Zella Vonola Fairbanks Modine, washed clothes to pay for her singing and dancing lessons during the Great Depression 

Career
Her only movie role was as a "glorified extra" in The Corn Is Green in 1945, starring Bette Davis  Soon after, she joined the Lionel Barrymore production of the musical, Halloween at the Hollywood Bowl, and performed on The Standard Hour in addition to the Hollywood Canteen for servicemen 
Next, she went on tour as a soloist with the Sonja Henie Ice Show, completing two national tours  When the tours ended in New York, she stayed on with the show, named Howdy Mr  Ice at the Center Theatre in Rockefeller Center 
Her Broadway debut was in 1950 in the chorus of Cole Porter's Out of This World
  She soon became an understudy and before long, assumed the lead  Summer stock performances included Miss Liberty with Dick Haymes in the Dallas Theatre as well as Die Fledermaus and finally Bloomer Girl in Toronto, Canada  Next, she joined the Broadway cast of Paint Your Wagon opposite James Barton, when Olga San Juan left the role of Jennifer Rumson  She took the show on tour with Burl Ives in the part of her father, Ben Rumson  
In 1952, she starred in the first musical production at the new Jones Beach Theatre in Long Island, New York  Mike Todd was the producer of this production of the Johann Strauss II operetta Eine Nacht in Venedig starring alongside Enzo Stuarti and Thomas Hayward 
After a winning performance on The Arthur Godfrey Radio Show, she appeared on his television show  Her final Broadway performance came when she was asked to replace Florence Henderson in the lead role in Fanny, co-starring Ezio Pinza 
She revived her career in 1978 with appearances in a short-lived sketch comedy TV series, Madhouse Brigade, produced by her husband  In 1981, he produced an off-Broadway show called Romance Is where Fairbanks performed with an ensemble cast  The show closed after a few performances 

Personal life
Fairbanks married James Larkin in 1954 and had four children  They divorced in 1990  She died on February 8, 2021, at the age of 96, in Greenwich, Connecticut 
Passage 2:
Emel Say
Emel Say (1927 – 17 February 2011) was a Turkish painter  She was the daughter of painter Zehra Say and the aunt of pianist Fazıl Say 

Life
Emel Say was born in 1927  Her grandfather was a politician, who left the Committee of Union and Progress and opened a dance hall  Her mother Zehra Say was the first woman in modern Turkey to be married at an official wedding  Emel's mind was always on music  When she was fifteen, she received singing classes from Professor Carl Ebert, who had established the Ankara Conservatory  At first, Emel Say wanted to be an opera artist, but she changed her mind when she fell in love with a piece of land in Hatay, southern Turkey  She had to put her interest in music on hold when she married  Her husband Fuat Say, unlike the tolerance that Fuat Say had shown her mother Zehra, did not send Emel to school, nor was this really possible in Hatay at the time  Raising her three sons was the only thing she did until she divorced her husband when she was 30 years old 
After her divorce, her interest in music did not come to fruition; her mother got sick, so she had to focus on getting a job and income  She started her work life as the secretary of Fuat Bezmen  She worked for him for around ten years She worked in the United States for about five years When her mother, the famous painter Zehra Say, went into the later stages of Alzheimer's disease, she was no longer able to continue painting  Zehra made her daughter Emel promise to finish her painting Maui Adası (Island of Maui), which she had started to paint from a postcard Emel had brought back from a trip to Hawaii  She did not know how she could paint  At first, she cried but then she tried to paint and from that point on did not stop  She completed her mother's painting and it was displayed at an exhibition at the Çiçek Bar  There she was discovered by the sculptor Gürdal Duyar who at first asked what had happened to Maui Adası, and then when Emel told him that her mother had insisted she finish it, she tried at it  Duyar expressed to her that she was a natural talent and had been a painter within all along  If it was not for this reassuring encounter she may not have gone into painting at all in her life  She started painting after the age of 60 Together with Duyar, who became a close friend of hers and other friends and family, she would often work on paintings and listen to music together late into the night  One of these nights, Duyar made a portrait for one of Fazıl's musician friends starting at midnight and finishing towards the morning as recalled by this friend of Fazıl's Say died in 2011 

Art
She was a student in the studio of the painter Osman Özal  She, together with the other (former) students, would meet on Wednesdays at the İzmir Art and Sculpture Museum, and work in the studio there  They became known as the "Group Wednesday", and held collaborative exhibitions She and Duyar had exhibitions at the CEP Gallery in the time period between 1977 and 1990 In 1995, her work, along with the work of Gürdal Duyar, was exhibited in the grand opening exhibition of the Asmalımescit Art Gallery 

Technique
She made many miniatures  One of the techniques she often used was using two different types of paint in the same painting, acrylic and gouache 

Exhibitions
Emel Say painting exhibition, Underground Art Gallery (till 20 May 1992)
Asmalımescit Art Gallery grand opening exhibition (1995)
Emel Say painting exhibition, Çatı Sanatevi (till 7 May 2000)
Emel Say painting exhibition, Underground Art Gallery (till 21 May 2004)
9th exhibition, Çiçek Bar (till 18 December 2004)
Mixed Exhibition of works by Osman Özals students, Dr  Selahattin Akçiçek Culture and Art Center in Konak, İzmir (till 15 April 2012) but extended?

Friends and Family
She is proud of how her mother, Zehra Say, even after her marriage, went to school and became an art teacher, which was quite an accomplishment at that time  She is also proud of her father Fuat Say for supporting his wife, her mother  Say's uncle's grandson, Fazıl Say, did make a career of his musical talent  When talking about him, she said that he is "A Genius!", "When he was just four years old, his mother had bought a small organ, like a toy    Fazıl started to play the songs on the radio with this organ  How many times could a composer the likes of him come to this Earth!"She became friends with the poet and writer Gülsüm Cengiz around after her time in the United States  He was visiting her and Zehra at their home and they continued in conversation late into the night, and they learned about the 1960 military coup towards the morning after someone was banging on the door and they turned on the radio



ground_truth: Cahiers du cinéma

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which film has the director who was born earlier, Khud-Daar or Murderer In The Fog?

The following are given passages.
Context 2: 

Cast
Production
During production, the film ran into financial trouble, and after Mehmood refused to help Ali with the financing, he resorted to partnering with F K  Rattonsey who provided the money to complete the film 

Soundtrack
All the songs were composed by Rajesh Roshan and lyrics were penned by Majrooh Sultanpuri 
Passage 5:
Edward Yates
Edward J  Yates (September 16, 1918 – June 2, 2006) was an American television director who was the director of the ABC television program American Bandstand from 1952 until 1969 

Biography
Yates became a still photographer after graduating from high school in 1936  After serving in World War II, he became employed by Philadelphia's WFIL-TV as a boom microphone operator  He was later promoted to cameraman (important as most programming was done live and local during the early years of television) and earned a bachelor's degree in communications in 1950 from the University of Pennsylvania 
In October 1952, Yates volunteered to direct Bandstand, a new concept featuring local teens dancing to the latest hits patterned after the "950 Club" on WPEN-AM  The show debuted with Bob Horn as host and took off after Dick Clark, already a radio veteran at age 26, took over in 1956 
It was broadcast live in its early years, even after it became part of the ABC network's weekday afternoon lineup in 1957 as American Bandstand  Yates pulled records, directed the cameras, queued the commercials and communicated with Clark via a private line telephone located on his podium 
In 1964, Clark moved the show to Los Angeles, taking Yates with him 
Yates retired from American Bandstand in 1969, and moved his family to the Philadelphia suburb of West Chester 
He died in 2006 at a nursing home where he had been for the last two months of his life 

External links
Edward Yates at IMDb
Passage 6:
A Face in the Fog
A Face in the Fog is a 1936 American mystery film directed by Robert F  Hill 

Plot
June Collyer (her last film) plays a meddlesome reporter who claims she can recognize "the fiend" because she saw his face in the fog (in a mirror)  She becomes his target  Fellow reporter (Lloyd Hughes) tries to protect her, along with a ditzy photographer (Al  St  John)  After there is a murder in a theater, the playwright (Lawrence Gray) pitches in to help solve the case 

Cast
June Collyer as Jean Monroe
Lloyd Hughes as Frank Gordon
Lawrence Gray as Peter Fortune
Jack Mulhall as Reardon
Al St  John as Elmer
John Cowell as Wilson
John Elliott as Detective Davis
Sam Flint as Harrison - Newspaper Editor
Forrest Taylor as Bruce Cromwell
George Ball Trio as Acrobatic Trio
Ramsdall Dancers as Dance Troupe
Donna Lee Trio as Singers
Passage 7:
Hassan Zee
Hassan "Doctor" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan 

Early life
Doctor Zee grew up in Chakwal, a small village in Punjab, Pakistan  as one of seven brothers and sisters  His father was in the military and this fact required the family to move often to different cities  As a child Zee was forbidden from watching cinema because his father believed movies were a bad influence on children 
At age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas and musical programs   It was then that he realized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of Medical Sciences  He cared for women who were victims of  "Bride Burning," the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provide offspring   He also witnessed how his country’s transgender and intersex people, called “hijras”, were banned from having jobs and forced to beg to survive  These experiences inspired Doctor Zee to tackle the issues of women’s empowerment and gender inequality in his films In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his home

Education
He received his early education from Jinnah Public School, Chakwal  He got his medical doctor degree at Rawalpindi Medical College, Pakistan 

Film career
Doctor Zee's first film titled Night of Henna was released in 2005  The theme of the film dealt with "the conflict between Old World immigrant customs and modern Western ways   " Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture  Many often landed themselves in trouble when it came to marrying off their children 
His second film Bicycle Bride came out in 2010, which was about "the clash between the bonds of family and the weight of tradition " His third film House of Temptation that came out in 2014 was about a family which struggles against the temptations of the Devil  His fourth film “Good Morning Pakistan”, concerned a young American’s journey back to Pakistan where he confronts the contradictory nature of a beautiful and ancient culture that's marred by economic, educational and gender inequality His upcoming fifth film, "Ghost in San Francisco" is a supernatural thriller starring Felissa Rose, Dave Sheridan, and Kyle Lowder where a soldier comes home from Afghanistan to discover that his wife is having an affair with his best friend  While battling with his inner ghosts and demons, he meets a mysterious woman in San Francisco who promises him a ritual for his cure 
Passage 8:
Eugen York
Eugen York (26 November 1912 – 18 November 1991) was a German film director  He directed 35 films between 1938 and 1984  He was born in Rybinsk, Russian Empire and died in Berlin, Germany 

Selected filmography
Film
Morituri (1948)
The Last Night (1949)
Shadows in the Night (1950)
Blondes for Export (1950)
Der Schatten des Herrn Monitor (1950)
The Allure of Danger (1950)
Das Fräulein von Scuderi (1955)
A Heart Returns Home (1956)
The Heart of St  Pauli (1957)
The Copper (1958)
Man in the River (1958)
The Girl with the Cat Eyes (1958)
Murderer in the Fog (1964)
Das Gesetz des Clans (1977)

Television
Das Sparschwein (1952)
Aufruhr (1960) — based on the play Disturbance by Hugh Forbes
Polly liebt nur Kapitäne (1963)
Haus der Schönheit (1963) — based on the play Pariser Platz 13 by Vicki Baum
Gewagtes Spiel (1964–1966, TV series, 26 episodes)
Sechs Stunden Angst (1964) — based on the novel Six heures d'angoisse by Francis Didelot
Großer Ring mit Außenschleife (1966) — based on a radio play by Heinz Oskar Wuttig
Spätsommer (1966) — based on the novel Altersschwach by Max Dreyer
Das kleine Teehaus (co-director: Paul Martin, 1967) — based on The Teahouse of the August Moon
Großer Mann was nun? (1967–1968, TV series, 8 episodes)
Der Tag, an dem die Kinder verschwanden (1967) — based on The Day the Children Vanished by Hugh Pentecost
Alle Hunde lieben Theobald (1969–1970, TV series, 12 episodes)
Stewardessen (1969, TV series, 6 episodes)
Der Opernball (1971) — based on Der Opernball
Kennzeichen Rosa Nelke (1971, TV series, 6 episodes)
Ball im Savoy (1971) — based on Ball im Savoy
Paganini (1973) — based on Paganini
Gräfin Mariza (1974) — based on Countess Maritza
Madame Pompadour (1974) — based on Madame Pompadour
Glückliche Reise (1975) — based on Glückliche Reise
Viktoria und ihr Husar (1975) — based on Viktoria und ihr Husar
Frau Luna (1975) — based on Frau Luna
Hatschi! (1979)
Und plötzlich bist du draußen (1981)
Schuld sind nur die Frauen (co-director: Rolf von Sydow, 1982)
Ein Fall für zwei: Zwielicht (1983, TV series episode)
Ein Fall für zwei: Herr Pankratz, bitte! (1983, TV series episode)
Ein Fall für zwei: Chemie eines Mordes (1984, TV series episode)
Passage 9:
Murderer in the Fog
Murderer in the Fog (German: Nebelmörder) is a 1964 West German crime film directed by Eugen York and starring Hansjörg Felmy, Ingmar Zeisberg and Elke Arendt  The police investigate a series of attacks in a small German town 
The film's sets were designed by the art director Karl Schneider  The film was partly shot on location in Baden-Württemberg 

Cast
Hansjörg Felmy as Kommissar Hauser
Ingmar Zeisberg as Hilde Kment
Elke Arendt as Franziska Hillebrand
Ralph Persson as Heinz Auer
Wolfgang Völz as Kriminalassistent Kurt Freitag
Wolfgang Büttner as Schuldirektor Dr  Hillebrand
Alfred Balthoff as Herr Lindemann
Karl-Georg Saebisch as Herr Auer
Berta Drews as Frau Ritzel
Marlene Warrlich as Ulla Reiter
Hilde Sessak as Frau Schmittner
Isabelle Carlson as Gerda Brinkmann
Elfriede Rückert as Frau Ambacher
Addi Adametz as Krankenschwester
Lutz Hochstraate as Erwin Lindemann
Jürgen Janza as Franz Ritzel (as Hans Jürgen Janza)
Wolfgang Jansen as Robert Elsen
Rolf Stahl as Willi Wolfsberger
Werner Schulenberg as Bert Steiner
Günter Meisner as Kriminalassistent Behrend
Benno Hoffmann as Komarek
Herbert Knippenberg as Kriminalassistent Neuhaus
Horst-Werner Loos as Kriminalassistent Betzinger
Hannes Tannert as Herr Elsen
Nikolaus Schilling as Ludwig Leitner
Ursula van der Wielen as Barbara Freitag
Passage 10:
Ben Palmer
Ben Palmer (born 1976) is a British film and television director 
His television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020)  Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015) 

Biography
Palmer was born and raised in Penny Bridge, Barrow-in-Furness  He attended Chetwynde School His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis  Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively 

Filmography
Bo' Selecta! (2002–06)
Comedy Lab (2004–2010)
Bo! in the USA (2006)
The Inbetweeners (2009–2010)
The Inbetweeners Movie (2011)
Comedy Showcase (2012)
Milton Jones's House of Rooms (2012)
Them from That Thing (2012)
Bad Sugar (2012)
Chickens (2013)
London Irish (2013)
Man Up (2015)
SunTrap (2015)
BBC Comedy Feeds (2016)
Nigel Farage Gets His Life Back (2016)
Back (2017)
Comedy Playhouse (2017)
Urban Myths (2017–19)
Click & Collect (2018)
Semi-Detached (2019)
Breeders (2020)
Context 3: She was also close friends with Gürdal Duyar, and they had exhibitions together 
Passage 3:
Marcus Annius Libo (consul 161)
Marcus Annius Libo (died 163) was a Roman senator  He was suffect consul in the nundinium of January-April 161 with Quintus Camurius Numisius Junior as his colleague  Libo was the nephew of emperor Antoninus Pius, and cousin to emperor Marcus Aurelius 
Libo came from a Roman family that had settled in Hispania generations before, and had returned to Rome more recently  His father was Marcus Annius Libo, consul in 128, and his mother was a noblewoman whose name has been surmised as Fundania, daughter of Lucius Fundanius Lamia Aelianus, consul in 116  Libo had a sister, Annia Fundania Faustina, wife of Titus Pomponius Proculus Vitrasius Pollio, whose second consulship was in 176 

Governor of Syria
The only portion of his cursus honorum we know is the portion immediately after Libo stepped down from his consulate  To support his co-emperor Lucius Verus' campaign against the Parthians, Marcus Aurelius appointed Libo governor of the province of Syria  Anthony Birley notes this was a surprising choice  "As Libo had been consul only the previous year, 161," writes Birley, "he must have been in his early thirties, and as a patrician must have lacked military experience " Syria was an important province, and the men picked to govern it were usually senior men with much military and administrative experience  Birley answers his own question, "It seems that Marcus' intention was to have on the spot a man he could rely "As governor, Libo quarreled with the emperor Lucius, taking the attitude that he would only follow the instructions that Marcus gave him  This angered Lucius, so when Libo suddenly died, rumor claimed that Lucius had Libo poisoned When Libo died, Lucius Verus defied Marcus and married Libo's widow to his Greek freedman called Agaclytus  Accordingly, Marcus Aurelius attended neither the ceremony nor the banquet 
Passage 4:
Marcus Annius Verus (praetor)
Marcus Annius Verus (died 124 AD) was a distinguished Roman politician who lived in the 2nd century, served as a praetor and was the father of the Emperor Marcus Aurelius 

Life
He was the son of Roman senator Marcus Annius Verus and noblewoman Rupilia Faustina  His brother was the consul Marcus Annius Libo and his sister was Faustina the Elder, wife of Antoninus Pius  He married Domitia Lucilla, the heiress of a wealthy family which owned a tile factory  They had two children, Marcus Aurelius (born in 121, and who was also originally named Marcus Annius Verus), and Annia Cornificia Faustina (born in 123)  Annius Verus died young while he held the office of praetor  Both his children were still young  The likeliest year of his death is 124 In his Meditations, Marcus Aurelius, who was only about 3 years old when his father died, says of him: "From what I heard of my father and my memory of him, modesty and manliness "

Nerva–Antonine family tree
Passage 5:
Lucius Neratius Priscus
Lucius Neratius Priscus was a Roman Senator and leading jurist, serving for a time as the head of the Proculeian school  He was suffect consul in the nundinium of May–June 97 as the colleague of Marcus Annius Verus 

Family
The origins of the gens Neratia lie in the Italian town of Saepinum in the heart of Samnium; Priscus' father was the homonymous suffect consul of the year 87  He is known to have a younger brother, Lucius Neratius Marcellus, who was adopted by their uncle Marcus Hirrius Fronto Neratius Pansa who was suffect consul in either 73 or 74 and co-opted into the Patrician class; Marcellus became suffect consul two years before Priscus, and ordinary consul in 129 The existence of a son with the identical name and consul in either 122 or 123, inferred from the existence of the possible governor of Pannonia Inferior, was disproved by a 1976 paper written by G  Camodeca, whose findings were embraced by Ronald Syme 

Career
Most of Priscus' advancement through the cursus honorum has been established  His first known office was as military tribune with Legio XXII Primigenia between c  79 to c  80, in Mogontiacum (modern Mainz)  Next he held the office of quaestor (c  83/84), and upon completion of this traditional Republican magistracy Priscus would be enrolled in the Senate  The two other magistracies followed: plebeian tribune (c  85/86) and praetor (c  88/89); usually a senator would govern either a public or imperial praetorian province before becoming a consul, but none is known for Priscus  After serving as suffect consul, Priscus was admitted to the collegia of the Septemviri epulonum, one of the four most prestigious ancient Roman priesthoods  He was also entrusted with governing, in succession, the imperial provinces of Germania Inferior (98-101), then Pannonia (102-105) The Digest of Justinian records that the emperor Trajan invoked the help of Priscus and Titius Aristo on a point of law   According to the Historia Augusta, there was a rumor that Trajan considered making Priscus his heir to the empire, before finally deciding on Hadrian to succeed him  Despite being a potential rival for the throne, Priscus was one of the legal experts the emperor Hadrian relied on for advice  Sir Ronald Syme looks to have considered Priscus as being another name used by or for Publius Cornelius Tacitus 
Passage 6:
Marcus Annius Flavius Libo
Marcus Annius Flavius Libo was a Roman Senator who lived in the second half of the 2nd century and first half of the 3rd century  He was consul ordinarius in AD 204 with Lucius Fabius Cilo as his senior colleague 
Libo was a Patrician and came from Hispania Baetica  His grandfather was Marcus Annius Libo, who was made suffect consul in 161  His father of the same name was a legatus of Syria and may have been poisoned, possibly by his cousin, Lucius Verus  Libo was related to Lucius Verus through their mutual ancestor, Marcus Annius Verus, who was consul three times, and by marriage to Emperor Antoninus Pius, who married his grandfather's sister 
Passage 7:
Rupilia
The gens Rupilia, occasionally written Rupillia, was a minor plebeian family at ancient Rome   Members of this gens are first mentioned in the latter part of the Republic, and Publius Rupilius obtained the consulship in 132 BC   Few others achieved any prominence, but the name occurs once or twice in the consular fasti under the Empire   The name is frequently confounded with the similar Rutilius 

Praenomina
The main praenomina of the Rupilii were Publius and Lucius, two of the most common names throughout Roman history 

Branches and cognomina
None of the Rupilii bore cognomina under the Republic, but as with other plebeian families most of them had individual surnames in imperial times 

Members
This list includes abbreviated praenomina   For an explanation of this practice, see filiation Publius Rupilius P  f  P  n , a fierce opponent of the Gracchi, became consul in 132 BC, the year after the murder of Tiberius Gracchus, whose followers he persecuted   He brought the First Servile War to a close, then remained in Sicily to reorganize the province, receiving a triumph on his return   He was prosecuted and condemned during the tribunate of Gaius Gracchus in 123, and died soon afterward 
Lucius Rupilius P  f  P  n , brother of Publius Rupilius, the consul, sought the aid of Scipio Aemilianus to obtain the consulship, but was not elected



ground_truth: Murderer In The Fog

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who is Marcus Annius Libo's aunt?

The following are given passages.
Context 3: 
Lucius Rupilius, an actor known to the young Cicero 
Aulus Rupilius, a physician employed by Aulus Cluentius Habitus, whose mother, Sassia, bought a slave, Strato, from Rupilius, and had him tortured in the hope of obtaining evidence against her own son   The slave knew nothing of value, and Sassia's scheme came to naught 
Publius Rupilius, a man of equestrian rank, was magister of the publicani of Bithynia 
Gaius Rupilius, an argentarius, or silversmith, named in an inscription 
Lucius Scribonius Libo Rupilius M  f  M  n  Frugi Bonus, consul suffectus, serving from May to August in AD 88   He was the great-grandfather of Marcus Aurelius   His descent from the Rupilii is unclear 
Rupilia L  f  M  n  Faustina, the grandmother of Marcus Aurelius, married Marcus Annius Verus 
Lucius Rupilius Appianus, one of the septemviri epulones at Brixia in Venetia and Histria 
Decimus Rupilius Severus, legate in Lycia and Pamphylia in AD 151, perhaps the same Severus who was consul suffectus at the end of 155 
Lucius Rupilius Au[   ], legate of Sextius Lateranus, proconsul of Africa in AD 176 
Quintus Rupilius Q  f  Honoratus, of Mactar in Africa, raised to the equestrian order by Severus Alexander 
Rupilius Pisonianus, curator at Mactar and Mididi between 290 and 293 AD 
Rupilius Pisonianus, praefectus vigilum of Rome under Constans Caesar 

See also
List of Roman gentes
Passage 8:
Annia Fundania Faustina
Annia Fundania Faustina (died 192) was a noble Roman woman who lived in the Roman Empire during the 2nd century AD  She was the paternal cousin of Roman Emperor Marcus Aurelius and his sister Annia Cornificia Faustina 

Life
Fundania Faustina was the daughter of the Roman consul Marcus Annius Libo and wife Fundania  Her brother was the younger Marcus Annius Libo who served as governor of Syria in 162  Fundania Faustina's maternal grandparents are inferred to be Lucius Fundanius Lamia Aelianus and his unknown wife; however her paternal grandparents are the Roman consul Marcus Annius Verus and Rupilia Faustina  She was born and raised in Rome 
Through her paternal grandmother, she was related to the ruling Nerva–Antonine dynasty of the Roman Empire  Her paternal aunt was Empress Faustina the Elder (wife of Emperor Antoninus Pius and mother of Empress Faustina the Younger) and her paternal uncle was praetor Marcus Annius Verus (father of Emperor Marcus Aurelius, the paternal grandmother of Empress Lucilla and Emperor Commodus) 
Fundania Faustina, married the Roman Politician Titus Pomponius Proculus Vitrasius Pollio  She had two children with him who were:

Titus Fundanius Vitrasius Pollio; he was executed in 182 on the orders of Commodus on the charge of conspiracy against the emperor 
Vitrasia FaustinaBefore 180, her husband had died and Fundania Faustina never remarried  During the reign of her unstable paternal cousin Commodus (180-192), she decided to withdraw from public life and chose to live in retirement in Achaea  Before he was assassinated in 192, Commodus ordered Fundania Faustina's death and she was later executed in that year 

Sources
Septimius Severus: the African emperor, by Anthony Richard Birley Edition: 2 – 1999
From Tiberius to the Antonines: a history of the Roman Empire AD 14-192, by Albino Garzetti, 1974
Mutilation and transformation: damnatio memoriae and Roman imperial portraiture By Eric R  Varner 2004
Passage 9:
Marcus Annius Libo
Marcus Annius Libo was a Roman Senator active in the early second century AD 

Life
Libo came from the upper ranks of the Roman aristocracy  He was the son of Marcus Annius Verus, consul III in 126, and Rupilia Faustina  Annius Verus was Spanish of Roman descent  Rupilia was the daughter of Lucius Scribonius Libo Rupilius Frugi Bonus and Vitellia (daughter of emperor Vitellius)  Libo is known to have had three siblings, two sisters and one brother  His elder sister was the Empress Faustina the Elder (mother of the Empress Faustina the Younger) and his younger sister (whose name is missing, but surmised to be Annia) was the wife of Gaius Ummidius Quadratus Sertorius Severus, suffect consul in 118  His brother was Marcus Annius Verus, the father of Marcus Aurelius He was consul in 128 as the colleague of Lucius Nonius Calpurnius Torquatus Asprenas  Libo was the paternal uncle of the Emperor Marcus Aurelius 
Beyond his consulship, almost nothing is known of his senatorial career  During the reign of his brother-in-law, Antoninus Pius, he was one of seven witnesses to a Senatus consultum issued to the city of Cyzicus in 138, which sought approval for establishing a corpus juvenum for the education of young men 

Family
Libo married a noblewoman whose name has been surmised as Fundania, daughter of Lucius Fundanius Lamia Aelianus, consul in 116, and wife Rupilia Annia  They are known to have together two children:

Marcus Annius Libo, suffect consul in 161  He is known to have a son, Marcus Annius Flavius Libo 
Annia Fundania Faustina, wife of Titus Pomponius Proculus Vitrasius Pollio, consul II in 176

Nerva–Antonine family tree


== Sources ==
Passage 10:
Kawamura Sumiyoshi
Count Kawamura Sumiyoshi (川村 純義, 18 December 1836 – 12 August 1904), was an admiral in the Imperial Japanese Navy  Kawamura's wife Haru was the aunt of Saigō Takamori 

Biography
A native of Satsuma, Kawamura studied navigation at Tokugawa bakufu naval school at Nagasaki, the Nagasaki Naval Training Center  In 1868, he joined his Satsuma clansmen, and fought on the imperial side in the Boshin War of the Meiji Restoration as an army general  He was especially noted for his role in the Battle of Aizu-Wakamatsu 
Under the new Meiji government, he became an officer in the fledgling Imperial Japanese Navy, and steadily rose through the ranks  He became first Director of the Imperial Japanese Naval Academy in 1870 and taifu (senior vice minister) of Navy in 1872  He was in command of Japanese naval forces during the Taiwan Expedition of 1874 
During the Satsuma Rebellion, he was placed in command of all Imperial troops in September 1877 at the final Battle of Shiroyama near Kumamoto, when Saigō Takamori was killed (or committed seppuku)  This battle, Saigō's last stand against the Meiji government, was the historical basis for the 2003 film The Last Samurai 
In 1878, Kawamura became sangi (councillor) and the second Navy Minister  He remained in that position until 1885 except when he was temporarily replaced by Enomoto Takeaki, and during that period he expanded the influence of people from Satsuma within the navy 
In 1884, he was ennobled with the title of hakushaku (count) under the kazoku peerage system  Later serving as court councillor and Privy Councillor, in 1901 he was given responsibility for the upbringing of the newborn Prince Michi (the future Emperor Hirohito) and his younger brother Prince Chichibu (Yasuhito) In 1904, Kawamura was posthumously appointed to the rank of admiral, setting a precedent for such honors  His cause of death remains unknown, setting a mystery 



ground_truth: Vibia Sabina