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

Question: Where did Rameshwari Nehru's husband graduate from?

The following are given passages.
Context 1: Passage 1:
Donnie Elbert
Donnie Elbert (May 25, 1936 – January 26, 1989) was an American soul singer and songwriter, who had a prolific career from the mid-1950s to the late 1970s  His U S  hits included "Where Did Our Love Go?" (1971), and his reputation as a Northern soul artist in the UK was secured by "A Little Piece of Leather", a performance highlighting his powerful falsetto voice 

Career
Elbert was born in New Orleans, Louisiana, but when aged three his family relocated to Buffalo, New York  He learned to play guitar and piano as a child, and in 1955 formed a doo-wop group, the Vibraharps, with friend Danny Cannon  Elbert acted as the group's guitarist, songwriter, arranger, and background vocalist, making his recording debut on their single "Walk Beside Me"  He left the group in 1957 for a solo career, and recorded a demonstration record that earned him a recording contract with the King label's DeLuxe subsidiary  His solo debut "What Can I Do?" reached #12 in the U S  R&B chart, and he followed it up with the less successful "Believe It or Not" and "Have I Sinned?", which became a regional hit in Pittsburgh He continued to release singles on DeLuxe, but with little commercial success, and also played New York's Apollo Theater and toured the Chitlin' Circuit of African-American owned nightclubs  After completing an album, The Sensational Donnie Elbert Sings, he left DeLuxe in 1959, joining first Red Top Records, where in 1960 he recorded "Someday (You'll Want Me to Want You)", and then Vee-Jay Records, where he had another regional hit with "Will You Ever Be Mine?", which reportedly sold 250,000 copies in the Philadelphia area but failed to take off nationwide  His career was also interrupted by a spell in the US Army, from which he was discharged in 1961  He then recorded singles for several labels, including Parkway, Cub and Checker, but with little success  However, although the 1965 Gateway label release of "A Little Piece of Leather" failed to chart in the US, the record became a #27 pop hit when released on the London label in the UK several years later in 1972, and remains a Northern soul favorite Elbert relocated to the UK in 1966, where he married  There, he recorded "In Between The Heartaches" for the Polydor label in 1968, a cover version of the Supremes' hit "Where Did Our Love Go?" and an album of Otis Redding cover versions, Tribute To A King  His 1969 Deram release "Without You" had a rocksteady rhythm, and went to the top of the Jamaican charts 
He returned to the US the same year and had his first US chart hit in over a decade with the Rare Bullet release, "Can't Get Over Losing You", which reached #26 on the Billboard R&B chart  The track and its b-side, "Got To Get Myself Together", both written by Elbert, were released several times on different labels in subsequent years  After the success of that record, Elbert moved labels for a re-make of the Supremes' 1964 hit, "Where Did Our Love Go?" on All Platinum  It became his biggest hit, reaching #15 on the Billboard pop chart, #6 on the R&B chart, and (in 1972) #8 in the UK  Its follow-up, "Sweet Baby" reached #30 on the R&B chart in early 1972 
Elbert then signed with Avco-Embassy, where he entered the recording studio with the successful production team of Hugo & Luigi  His cover of the Four Tops' "I Can't Help Myself" reached #14 on the Billboard R&B chart, but climbed as high as #2 on the alternative Cashbox R&B chart  Elbert baulked at the label's insistence that he record material associated with Motown and departed with only a few tracks left to record for an album  Even so, the album was released after Avco sold it on to a budget label, Trip 
He returned to All Platinum and had a run of minor R&B hits, but left after a disagreement over the claimed authorship of Shirley & Company's R&B chart-topper "Shame Shame Shame", which was credited to label owner Sylvia Robinson  Elbert was also involved in a copyright wrangle over Darrell Banks' major R&B and pop hit in 1966, "Open The Door To Your Heart"  He had originally written the song as "Baby Walk Right In" (still its alternative legal title) and given it to Banks, but received no writing credit on the original record  Eventually, the matter was resolved by BMI with a disgruntled Elbert awarded joint authorship with Banks  "Open The Door" has since been given award-winning status by BMI and is one of over 100 songs written or co-written by Elbert 
For 1975's "You Keep Me Crying (With Your Lying)", Elbert formed his own label and "I Got to Get Myself Together", appeared on an imprint bearing his surname, but it was among his final recordings By the mid-1980s, Elbert had retired from performing and became director of A&R for Polygram's Canadian division  He suffered a massive stroke and died in 1989, at the age of 52 

Discography
Chart singles
Albums
The Sensational Donnie Elbert Sings (King, 1959)
Tribute to a King (1968)
Where Did Our Love Go? (All Platinum, 1971) U S  #153, R&B #45
Have I Sinned? (Deluxe, 1971)
Stop in the Name of Love (Trip, 1972)
A Little Bit of Leather (1972)
Roots of Donnie Elbert (Ember, 1973)
Dancin' the Night Away (All Platinum, 1977)

See also
List of disco artists (A-E)
Passage 2:
Brijlal Nehru
Brijalal Nehru (5 May 1884 – 27 May 1964) was a noted civil servant and member of the Nehru family 
He was the son of Pandit Nandlal Nehru (the elder brother of Motilal Nehru) and the cousin of Jawaharlal Nehru  Nandlal Nehru was Diwan of Khetri State for 11 years Brijlal was born on 5 May 1884 in Allahabad and he grew up in Anand Bhawan  Brijlal had been sent to Oxford in 1905 to compete for the Indian Civil Service by Motilal Nehru   He was a senior officer of the Audit and Accounts Service  After his retirement, he served Finance Minister of Princely State of Jammu & Kashmir during reign of Maharaja Hari Singh He was married to Rameshwari Raina, a noted social and women activist and a freedom fighter and recipient of Padma Bhushan in 1955, Later she also won the Lenin Peace Prize in 1961 Their son was Braj Kumar Nehru (1909-2001), an administrator and Padma Vibhushan recipient Brijlal died on 27 May 1964, the same day on which his illustrious cousin died 
Passage 3:
Yaya Soumahoro
Yaya Alfa Soumahoro (born 28 September 1989) is an Ivorian former professional footballer who plays as an attacking midfielder  
Having begun his career with Séwé Sports in his native country, he joined Thai club Muangthong United in 2008  His good performances earned him a move to K A A  Gent in 2010  He spent five and a half seasons with Gent but was plagued by recurring injuries throughout his time there  Following a half-season loan to Sint-Truidense V V , he returned to Muangthong United where did not feature  In 2018, he joined the Egyptian side Wadi Degla SC 

Early life
Soumahoro grew in the Ivorian capital Abidjan  He learned to play football in the streets and he decided to play for Séwé Sports  Soumahoro lost both parents at an early age and was taken care by a foster family 

Club career
Muangthong United
In 2008 Soumahoro moved to Thai Premier League side Muangthong United from Séwé Sports  He became a figurehead in this team, as he scored many goals and charmed the supporters with his numerous dribbles  He scored 32 goals in 72 games and helped the club win the Thai Premier League Championship Thai Division 1 League in 2008 and the Thai Premier League in 2009 

Gent
On 1 July 2010, Soumahoro joined Belgian club K A A  Gent on a three-year contract  On 22 August, he impressed in 3–1 league win against Charleroi scoring and assisting a goal each while also winning a penalty which Shlomi Arbeitman failed to convert  Four days later, he scored a goal to put Gent level on aggregate in a UEFA Europa League qualifying match against Feyenoord  His side went on to win 2–0 and qualify for the UEFA Europa League In September 2010, Soumahoro sustained a hamstring injury in a league match against Zulte Waregem and was substituted off after 73 minutes  It was announced he would be out of action for four weeks  In October 2010, he signed a one-year contract extension, tying him to the club until 2014 In April 2011, he received a three-match suspension In March 2012, it was announced Soumahoro would need to undergo surgery likely ruling him out for the rest of the 2012–13 season In October 2013, he signed a two-year contract extension with Gent, keeping him at the club until 2016 On 20 September 2015, Soumahoro made his first starting appearance after an injury layoff in a league match against Standard Liège  He had to leave the pitch after twisting his knee  With his contract set to expire at the end of the 2015–16 season Gent were looking to transfer Soumahoro  He did not take part in the club's winter training camp and instead trained with the reserves in wait of contract offers from other clubs  On 8 January 2016, Soumahoro rejected a move involving a 2 5-year deal to Cypriot club Anorthosis Famagusta  On 12 January, he joined Gent's league rivals Sint-Truidense V V  on loan until the end of the season 

After Gent
In June 2016 Soumahoro returned to former club Muangthong United  Six months later, his contract was terminated after he had not made any appearances due to injury problems 
In July 2018, he trialled with Belgian First Division B side K S V  Roeselare  He sustained an injury in a friendly match with Crawley Town and was not signed by Roeselare In October 2018, Soumahoro joined Egyptian Premier League side Wadi Degla SC as a free agent 

Honours
Muangthong United

Thai Division 1 League: 2008
Thai Premier League: 2009Gent

Belgian Pro League: 2014–15
Belgian Super Cup: 2015
Passage 4:
Joseph J  Sullivan (vaudeville)
Joseph J  Sullivan was a blackface comedian and acrobat in New York   He composed the song Where Did You Get That Hat? and first performed it in 1888   It was a great success and he performed it many times thereafter 
Passage 5:
Robert Paul Smith
Robert Paul Smith (April 16, 1915 – January 30, 1977) was an American author, most famous for his classic evocation of childhood, Where Did You Go? Out  What Did You Do? Nothing 

Biography
Robert Paul Smith was born in Brooklyn, grew up in Mount Vernon, NY, and graduated from Columbia College in 1936  He worked as a writer for CBS Radio and wrote four novels: So It Doesn't Whistle (1946) (1941, according to Avon Publishing Co , Inc , reprint edition     Plus Blood in Their Veins copyright 1952); The Journey, (1943); Because of My Love (1946); The Time and the Place (1951) 
The Tender Trap, a play by Smith and Dobie Gillis creator Max Shulman, opened in 1954 with Robert Preston in the leading role  It was later made into a movie starring Frank Sinatra and Debbie Reynolds  A classic example of the "battle-of-the-sexes" comedy, it revolves around the mutual envy of a bachelor living in New York City and a settled family man living in the New York suburbs 
Where Did You Go? Out  What Did You Do? Nothing is a nostalgic evocation of the inner life of childhood  It advocates the value of privacy to children; the importance of unstructured time; the joys of boredom; and the virtues of freedom from adult supervision  He opens by saying "The thing is, I don't understand what kids do with themselves any more " He contrasts the overstructured, overscheduled, oversupervised suburban life of the child in the suburban 1950's with reminiscences of his own childhood  He concludes "I guess what I am saying is that people who don't have nightmares don't have dreams  If you will excuse me, I have an appointment with myself to sit on the front steps and watch some grass growing "
Translations from the English (1958) collects a series of articles originally published in Good Housekeeping magazine  The first, "Translations from the Children," may be the earliest known example of the genre of humor that consists of a series of translations from what is said (e g  "I don't know why  He just hit me") into what is meant (e g  "He hit his brother ")
How to Do Nothing With Nobody All Alone By Yourself (1958) is a how-to book, illustrated by Robert Paul Smith's wife Elinor Goulding Smith  It gives step-by-step directions on how to: play mumbly-peg; build a spool tank; make polly-noses; construct an indoor boomerang, etc  It was republished in 2010 by Tin House Books 

List of works
Essays and humor
Where Did You Go? Out  What Did You Do? Nothing (1957)Translations from the English (1958) Crank: A Book of Lamentations, Exhortations, Mixed Memories and Desires, All Hard Or Chewy Centers, No Creams(1962)How to Grow Up in One Piece (1963)Got to Stop Draggin’ that Little Red Wagon Around (1969)Robert Paul Smith’s Lost & Found (1973)

For children
Jack Mack, illus  Erik Blegvad (1960)When I Am Big, illus  Lillian Hoban (1965)Nothingatall, Nothingatall, Nothingatall, illus  Allan E  Cober (1965)How To Do Nothing With No One All Alone By Yourself, illus Elinor Goulding Smith (1958) Republished by Tin House Books (2010)

Novels
So It Doesn't Whistle (1941) The Journey (1943) Because of My Love (1946)The Time and the Place (1952)Where He Went: Three Novels (1958)

Theatre
The Tender Trap, by Max Shulman and Robert Paul Smith (first Broadway performance, 1954; Random House edition, 1955)

Verse
The Man with the Gold-headed Cane (1943)…and Another Thing (1959)

External links
An Interview, by Edward R Murrow on YouTube
Passage 6:
Andrew Allen (singer)
Andrew Allen (born 6 May 1981) is a Canadian singer-songwriter from Vernon, British Columbia  He is signed to Sony/ATV and has released five top ten singles, and written and recorded many others, including Where Did We Go? with Carly Rae Jepsen  He also records covers and posts them on YouTube 

Background
Raised in British Columbia's Okanagan Valley, his acoustic pop/rock music is inspired by artists like Jason Mraz and Jack Johnson 

Career
Andrew Allen scored his first hit in 2009, when I Wanna Be Your Christmas cracked the Top Ten in his native Canada  He was honored as the feature performer for the Sochi 2014 hand off finale on the internationally broadcast Closing Ceremony of the 2010 Paralympic Winter Games held at Whistler, British Columbia  Allen continued building an international profile in 2010, and released his biggest single Loving You Tonight, which sold more than 100,000 copies worldwide, was featured on the Gold Selling NOW 37, hit #6 on the Canadian charts for 22 weeks in a row and #30 on the US Hot AC charts, and got him a record deal with Epic after spending much of that year on the road  Because of the song's attention, Allen had the opportunity to perform with some of the world's biggest artists like Bruno Mars, One Republic, The Barenaked Ladies, Train, Matt Nathanson, Joshua Radin, Andy Grammer, The Script, Nick Carter, Kris Allen, Carly Rae Jepsen and many others 
Loving You Tonight was also featured on the soundtrack of Abduction starring Taylor Lautner 

Collaborations
Andrew Allen is also well known in the songwriting community, and has written songs with artists like Meghan Trainor, Rachel Platten, Cody Simpson, Carly Rae Jepsen, Matt Simons, Conrad Sewell as well as writer/producers like Toby Gad, Ryan Stewart, Eric Rosse, Jason Reeves, John Shanks, Nolan Sipes, Mark Pellizzer (Magic), Brian West and Josh Cumbee  Numerous songs he has been a part of writing have been released by various artists, including Last Chance, which was on the Grammy nominated album Atmosphere by Kaskade feat  DJ Project 46, Ad Occhi Chiusi which was on the Double Platinum release by Italian artist Marco Mengoni and Maybe (which Allen also later released himself) released by teen pop sensation Daniel Skye, as well as many others 

Singles
I Wanna Be Your Christmas (2009)
Loving You Tonight (2010)
I Want You (2011)
Where Did We Go? (2012)
Satellite (2012)
Play with Fire (2013)
Thinking About You (2014)
What You Wanted (2016)
Favorite Christmas Song (2017)
Maybe (2017)

Discography
The Living Room Sessions (2008)
Andrew Allen EP (2009)
The Mix Tape (2012)
Are We Cool? (2013)
All Hearts Come Home (2014)
The Writing Room (2020)
12:34 (2022; pre-released on vinyl in 2021)

Songwriting credits
Last Chance released by Kaskade featuring Project 46 on his Grammy nominated record Atmosphere 
Ad Occhi Chiusi released by Marco Mengoni on his Double Platinum record 
Reasons released by Project 46 
No Ordinary Angel released by Nick Howard from The Voice Germany 
Million Dollars released by Nick Howard from The Voice Germany 
Maybe released by Daniel Skye 
Passage 7:
Braj Kumar Nehru
Braj Kumar Nehru MBE, ICS (4 September 1909 – 31 October 2001) was an Indian diplomat and Ambassador of India to the United States (1961–1968) He was the son of Brijlal Nehru and Rameshwari Nehru and first cousin once removed of India's first prime minister Jawaharlal Nehru 

Personal life
Braj Kumar Nehru was born in Allahabad, Uttar Pradesh, India and was son of Brijlal Nehru and Rameshwari Nehru  He was educated at the Allahabad University (India), the London School of Economics and at Oxford University  He was awarded the Doctor of Literature degree by the University of Punjab, for his distinguished services in various fields  His grandfather, Pandit Nandlal Nehru, was the elder brother of Pandit Motilal Nehru  He was the cousin to the erstwhile Prime Minister of India, Indira Gandhi (née Nehru)  In 1935, Nehru married Magdolna Friedman (5 December 1908, Budapest, Austria-Hungary - 25 April 2017, Kasauli, Himachal Pradesh, India), a fellow student in the UK who was of an Hungarian Jewish background  The ill-treatment of the Jewish community in Europe prompted her father to change her name to Magdolna Forbath  Her nickname was Fori   After marriage, she changed her name to Shobha Nehru 

Career
National
He joined the Indian Civil Service in 1934 and rose to be governor of seven different states of India  From 1934 to 1937 he held various government positions in the province of Punjab  Nehru became the secretary of economic affairs in 1957  He was appointed Commissioner General for Economic Affairs (external financial relations) of India in 1958  He was Governor of Jammu and Kashmir (1981–84), Assam (1968–73), Gujarat (1984–86), Nagaland (1968–73), Meghalaya (1970–73), Manipur (1972–73) and Tripura (1972–73)  He was transferred overnight as the Governor of Jammu & Kashmir to Gujarat after he refused to help Indira Gandhi in destabilising the Farooq Abdullah government 

International
Nehru worked as executive director in the World Bank (1949) and was Economic Minister at the Indian Embassy in Washington (1954)  He helped to create the Aid India Club in 1958, which was a consortium of donor nations that committed to donate $2 million for the development of India  He also served as a diplomat, as ambassador to several countries and was offered the post of secretary-general of the United Nations in 1951, but declined  Nehru was also the Indian High Commissioner in London from 1973 to 1977  Braj was chairman of the United Nations Investment committee for 14 years  He represented India in the 'Sterlings balances' negotiations with Britain at the post-Second World War reparations conference 

Writer
Nehru wrote an autobiography titled Nice Guys Finish Second  Mr  Ramesh Kumar Saxena, who worked for him for 35 years, helped writing his biography 

Awards
He was appointed an MBE in the 1945 New Year Honours  He was awarded the Padma Vibhushan in 1999 The speech "Civil Service in Transition" delivered at the India International Center in New Delhi on 15 October 1999 describes the need and the role played by a strong civil service  It also details the causes for the prevalent corruption in India's political system and civil services 

Death
Nehru died in Kasauli, Himachal Pradesh, India on 31 October 2001 at the age of 92  His body was cremated in Delhi & the memorial service was held amongst the chanting of mantras from the holy scriptures 
Passage 8:
Nancy Baron
Nancy Baron is an American rock singer who was active in New York City in the early 1960s, known for the singles "Where Did My Jimmy Go?" and "I've Got A Feeling" 

Early life
Born into a family of singers and writers, Baron was introduced to many musical genres by her family at an early age  Noting her singing talents, her parents brought their young child to auditions for musical theater productions in New York City  The singer joined Glee clubs at school and formed her own female singing groups at school  At the age of 11, she heard her first "Rock and Roll" song  This affected her taste in music and desire to emulate the style; it was the first time she heard a Rock group with a female lead singer  This was significant since she realized that she could be a lead singer 

Recording career
At the age of 15, her parents sent her for vocal coaching in Manhattan, N Y  After a while her coach sent her to record a demonstration record in a sound studio near Broadway  Upon hearing her sing, the sound engineer contacted his friend who was a producer of a small record company in N Y C ; he was impressed by her voice and immediately signed her to a contract  The singer's mother co-signed the document since Baron was a fifteen-year-old minor at the time Baron became one of the many girl group/girl sound singers of the early 1960s  Baron was not a member of a group; her producers would hire "pay for hire" backup groups for her recordings  This "sound" as it is referred to had much to do with Phil Spector, one of its major creators; Spector produced recordings of this genre prolifically  The groups were composed of young adult or teenage girls, each with a lead singer and any number of back up singers At the time, the troubled label (a small N Y C  record company owned by Wally Zober) could not promote Baron's "I've Got A Feeling"/"Oh Yeah" 45 vinyl and so she eventually signed a contract with Jerry Goldstein producer of FGG productions, also located in Manhattan  "Where Did My Jimmy Go"/"Tra la la, I Love You" was the result (Diamond) 

Later life
Baron left the music industry at the age of 19, choosing to enter higher education due to changes in the music industry of those days; she eventually received an advanced degree 
Baron's "I've Got a Feeling" was covered by The Secret Sisters on their 2010 self-titled album as well as being released as a single  AllMusic describes Baron's song as "an early-'60s pop/rock obscurity" 
Passage 9:
Rameshwari Nehru
Rameshwari Nehru (née Rameshwari Raina; 10 December 1886 – 8 November 1966) was a social worker of India  She worked for the upliftment of the poorer classes and of women  In 1902, she married Brijlal Nehru, a nephew of Motilal Nehru and cousin of the first prime minister of independent India, Jawaharlal Nehru  Her son Braj Kumar Nehru was an Indian civil servant who served as governor of several states 
She edited Stri Darpan, a Hindi monthly for women, from 1909 to 1924  She was one of the founders of All India Women's Conference (AIWC) and was elected its president in 1942  She led delegations to the  World Women's Congress in Copenhagen and the first Afro-Asian Women's Conference in Cairo (1961) Nehru was awarded the Padma Bhushan by the Government of India for her social work, in 1955, and won the Lenin Peace Prize in 1961 She was one of the signatories of the Agreement to convene a convention for drafting a world constitution  As a result, for the first time in human history, a World Constituent Assembly convened to draft and adopt a Constitution for the Federation of Earth 
Passage 10:
Benny Rubinstein
Benny Rubinstein (בני רובינשטיין) is an Israeli former footballer and current real estate developer  He played soccer for Maccabi Netanya and Hapoel Netanya  At the 1969 Maccabiah Games, Rubinstein played soccer for Israel, winning a gold medal 

Biography
Rubinstein was born in Netanya, Israel  His wife is Sarah Rubinstein  Benny's son, Aviram also played football for Maccabi Netanya He played soccer for Maccabi Netanya and Hapoel Netanya  At the 1969 Maccabiah Games, Rubinstein played soccer for Israel, winning a gold medal Rubinstein then worked as a real estate agent, and now works in real estate development 

Honours
Israeli Premier League (1):
1970-71
Context 3: Passage 1:
Cuchillos de fuego
Cuchillos de fuego is a Venezuelan film released in 1990  It was directed by Román Chalbaud based on his theatre play Todo bicho de uña, where a young man, David, seeks revenge on his mother's rapist and murderer  In the film, which is styled like a Western, a stop-motion animated children's drawing of the young David crying over his mother's body is used to tell parts of the story  After searching through the Andes for ten years, he kills several Apaches for his revenge In its theatrical release it was viewed by 367,652 people 

Production
The film stars Miguel Ángel Landa, who also produced it, as well as Marisela Berti, Javier Zapata, Charles Barri, Natalia Martínez, Gabriel Fernández, Dora Mazzone, Jonathan Montenegro, Gabriel Martínez, and Raúl Medina Despite being a Spanish co-production, it was not released in Spain 

Response
The film has been praised for its mixing of diverse themes, like melodrama and fantasy  However, its use of Freudian references was seen as simple, with the film overall described as "somewhat indigestible" It has been assessed as thematically aligned with Chalbaud's other films, despite being a different genre  In this respect, it features "mirage-like memories" of David's mother;:46 masks and costumes used to show illusion and performance of characters thematically;:46-47 pop music in the background used to layer simple meaning;:47 the religious name (David) for its protagonist;:48 and the use of myths, specifically the "fairytale of the abandoned child" :52
Passage 2:
Vittorio Cottafavi
Vittorio Cottafavi (30 January 1914 – 14 December 1998) was an Italian film director and screenwriter  He directed 70 films between 1943 and 1985  His film Il diavolo sulle colline was screened in the Un Certain Regard section at the 1985 Cannes Film Festival 

Selected filmography
Passage 3:
Blossoms of Fire
Blossoms of Fire (also known as Ramo de fuego) is a 2000 documentary film about the people of Juchitán, Oaxaca, Mexico  The documentary was directed by Maureen Gosling and Ellen Osborne 

Overview
Author Elena Poniatowska described the women of Juchitán de Zaragoza, a city in the Mexican state of Oaxaca, as “guardians of men, distributors of food ” Artists like Miguel Covarrubias and Frida Kahlo celebrated their beauty and intelligence  Blossoms of Fire shows them in their daily lives as they run their own businesses, embroider their signature fiery blossoms on clothing and comment on articles in the foreign press that depict them as a promiscuous matriarchy  In particular, an article in the Latin American version of ELLE Magazine infuriated the community during the time the filmmakers were shooting in 1994  Yet, it is expressed throughout the film by the women that they do not consider their society to be a matriarchy 
The people interviewed in this film share a common work ethic and independent streak rooted in Zapotec culture  The movie demonstrates powerful women, the region’s progressive politics, and a tolerance of homosexuality  Veteran film editor and former Les Blank collaborator Maureen Gosling and co-director Ellen Osborne tell of an indigenous community whose "flair for survival in the modern world is a fighting spirit and the undeniable influence of women "

Scenes
A midwife laughs over a young husband’s behavior during birth,
A gay man cheerfully asserts that “the mom’s in charge” in Juchitecan society
Many proudly describe the challenges they face in their work and their families 

Honors and special screenings
World Premiere - San Francisco International Film Festival, Castro Theater, SF and Pacific Film Archive, Berkeley
Coral Prize for Best Foreign Documentary About Latin America: Havana International Film Festival, Havana, Cuba 
"Best Of"Sunnyside of the Doc Film Market, Marseille, France
Award for Excellence - Society for Visual Anthropology, American Anthropological Association
Best Documentary - Film Fest New Haven, Conn 
Second Prize, Community Category, Terres en Vues First People's Festival,  Montréal, Québec
Prix Union Latine, Competition - La Cita Festival de Biarritz, Biarritz, France
El Foro de la Cineteca Nacional, Mexico City, Mexico (One of 12 international films chosen to screen at this prestigious Forum ) The film toured Mexico with the other films for three months following 
HBO Frame by Frame Series, The Screening Room, Manhattan
Tour of the Mexican Republic, including Juchitán, Oaxaca, Mexico City, and dozens of venues in the southern Mexican states  Sponsored by the Mexican Film Institute (IMCINE)  May–June 2001 
HDerHumALC (Human Rights) Film Festival, Buenos Aires, Argentina 
Toured with festival films to Lima, Peru (Dec  2002)
World Social Justice Forum in Porto Alegre and Belem, Brazil (Jan  2003) 

Credits
Producer, Director, Editor - Maureen Gosling
Director, Co-Producer - Ellen Osborne
Co-Producers - Toni Hanna, Maria Teresa García de la Noceda
Cinematographer - Xavier Pérez Grobet
Sound Recordist - Gabriela Espinoza
Field Producer - Susana Vásquez Sánchez
Associate Producer - Kelly Clement
Fiscal Sponsor - Film Arts Foundation, San Francisco
Featuring - the People of Juchitán and San Blas Atempa, Oaxaca
Passage 4:
Miloš Zličić
Miloš Zličić (Serbian Cyrillic: Милош Зличић; born 29 December 1999) is a Serbian football forward who plays for Smederevo 1924  He is a younger brother of Lazar Zličić 

Club career
Vojvodina
Born in Novi Sad, Zličić passed Vojvodina youth school and joined the first team at the age of 16  Previously, he was nominated for the best player of the "Tournament of Friendship", played in 2015  He made his senior debut in a friendly match against OFK Bačka during the spring half of the 2015–16 season, along with a year younger Mihajlo Nešković  Zličić made an official debut for Vojvodina in the 16th fixture of the 2016–17 Serbian SuperLiga season, played on 19 November 2016 against Novi Pazar 

Loan to Cement
In July 2018, Zličić joined the Serbian League Vojvodina side Cement Beočin on half-year loan deal  Zličić made his debut in an official match for Cement on 18 August, in the first round of the new season of the Serbian League Vojvodina, in a defeat against Omladinac  He scored his first senior goal on 25 August, in victory against Radnički 

International career
Zličić was called in Serbia U15 national team squad during the 2014, and he also appeared for under-16 national team between 2014 and 2015  He was also member of a U17 level later  After that, he was member of a U18 level, and scored goal against Slovenia U18 

Career statistics
As of 26 February 2020
Passage 5:
Ojos de fuego
Ojos de Fuego  (Eyes of Fire) is a 1995 Argentine independent short film written and directed by Jorge Gaggero 

Cast
Erasmo Olivera as Julian
Jorge Huertas as Comisario
Victor Poleri as Rengo
Eva Fernandez as Madre de Julian
Leandro Martínez as Laucha

External links
Ojos de fuego at IMDb
Passage 6:
La Bestia humana
La Bestia humana is a 1957 Argentine film whose story is based on the 1890 novel La Bête Humaine by the French writer Émile Zola 

External links
La Bestia humana at IMDb
Passage 7:
Román Chalbaud
Román Chalbaud (born 10 October 1931) is a Venezuelan film director and screenwriter, as well as a prominent playwright  Starting work in television after prestigious training, Chalbaud moved into making films before the industry took off in his home country, returning to theatre where he had been a great success for several years until filmmaking became a viable industry again  He has served as the president of Venezuela's leading theatre, television, and film organisations  A documentary about his life and work called Román en el universo de las maravillas, produced by Argentinian filmmakers, was released on 17 March 2018 in Altamira, Caracas at the Rómulo Gallegos Center for Latin American Studies 

Early life
Born in Mérida, Chalboud moved to Caracas with his grandmother at age six, and was seen in the city as a "learning-disabled" "country boy" Chalbaud was young, "in his adolescence" when he knew he wanted to be a storyteller, but also had a proclivity towards poetry  Some of his storytelling desires came from his grandmother, who was a keen reader of European literature, and also enjoyed watching some French and Italian films



ground_truth: Oxford

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 is older than the other, Season Of Strangers or The Yellow Teddy Bears? 

The following are given passages.
Context 2: Passage 1:
Robert Hartford-Davis
Robert Hartford-Davis (born William Henry Davis, 23 July 1923 – 12 June 1977) was a British born producer, director and writer, who worked on film and television in both in the United Kingdom and United States   He is also sometimes credited as Michael Burrowes or Robert Hartford 

Biography
Hartford-Davis was born in Ramsgate, Kent in 1923 as William Henry Davis; he changed his name on becoming a television director in 1955  His television career encompassed drama, comedy and entertainment shows  Bob, as he liked to be called, started his career as an electrician in a South London film studio, where he went on to develop his skills as a cameraman  During the fifties he made a number of short films  These were innovative with the choice of cast and script content  In the late fifties he became an agent and worked for Roy Rogers, amongst others (in England) 
His talents included co-writing many scripts for 'exploitation' movies and he used media events and people to forward his career  The Yellow Teddy Bears is a prime example of his vivid imagination, using an article in a national newspaper as fodder 
Robert dealt with the downturn of the film industry in the UK by investing his own money in two movies, The Fiend and Nobody Ordered Love 

Personal life
Hartford-Davis married Betty Hale in 1943 and there were three children from this marriage;  Jean, Marian and Penelope were born in the next ten years  His wife also co-wrote I'm Not Bothered and an innovative play on the trial of Christ, We the Guilty  Robert and Betty were divorced in 1957  Robert went on to marry three or four more times  There was also another son, Scott Hartford-Davis, born in the late fifties 
Robert died on 12 June 1977 from a massive stroke 

Filmography
1956: I'm Not Bothered (TV series)
1960: Police Surgeon (TV series)
1962: Crosstrap
1963: That Kind of Girl
1963: The Yellow Teddy Bears
1964: The Black Torment
1964: Saturday Night Out
1965: Gonks Go Beat
1966: The Sandwich Man
1968: Corruption
1969: The Smashing Bird I Used to Know (a k a  School for Unclaimed Girls)
1971: Nobody Ordered Love
1971: Incense for the Damned
1972: The Fiend
1972: Black Gunn
1974: The Take
1977: Dog and Cat (TV series)

External links
Robert Hartford-Davis at IMDb
Robert Hartford-Davis at Hollywood com
Passage 2:
Logan Sandler
Logan Sandler is an American writer and director who is best known for his first feature film Live Cargo 

Early life and education
Sandler graduated from SFTV within Loyola Marymount University's Film School in 2011 with a B A  in Film Production, and three years later, while earning an M F A  from AFI in Film Directing, he developed his first feature film, Live Cargo  He developed the script with the late Seth Winston and co-writer Thymaya Payne  In 2015, Sandler was awarded the Institute's Franklin J  Schaffner Fellow Award for his short film, Tracks 

Career
Sandler's senior thesis, All It Will Ever Be premiered at the Bermuda International Film Festival in 2012  Sandler's second short film Tracks screened at various festival around the world, including AFI FEST, Marfa Film Fest, Cambridge Film Festival, and the Miami International Film Festival  The film won the Lexus Audience Award for Best Short film at the Miami International Film Festival and best actor for Keith Stanfield at the 24 FPS International Film Festival Sandler's debut feature film Live Cargo was filmed in the Bahamas, and premiered at the Tribeca Film Festival in 2016  The film stars Dree Hemingway, Keith Stanfield, and Robert Wisdom  In addition to the 2016 Tribeca Film Festival, Live Cargo had its European premiere at the Warsaw International Film Festival, then went on to screen at the American Film Festival in Poland, the São Paulo International Film Festival, the Denver Film Festival, the Key West Film Festival, the Torino Film Festival, the Bahamas International Film Festival, and AFI FEST Sandler has collaborated with Stanfield on music videos, co-directing the group MOORS’ single Gas  The music video premiered on Vice’s music channel Noisey IONCINEMA com chose Sandler as their IONCINEPHILE of the Month for April 2017, a feature that focuses on an emerging filmmaker from the world of cinema  When asked about his favorite films of his formative years Sandler said, "I fell in love with Jean Luc Godard’s Contempt and Weekend  I was blown away by Agnes Varda’s Cleo from 5 to 7  Michelangelo Antonioni’s films really struck a chord with me as well  After seeing L’Avventura and Blowup, I went online and ordered every film of his I could find  The Passenger’s penultimate shot blew me away  I watched that 7 minute shot over and over  It’s probably my favorite shot in the history of cinema "

Critical reception
Angelica Jade Bastien for Roger Ebert wrote of the film, "In 'Live Cargo,' director/co-writer Logan Sandler strives to tell a story that finds poetry in the commonplace by shirking narrative conventions "Chuck Wilson for The Village Voice wrote, "The well-acted Live Cargo, which also features Robert Wisdom and Sam Dillon, is at its best when it observes character acting silently against landscape, as when Nadine goes snorkeling and uses a spear gun to jab at sharks, a juxtaposition of natural beauty and human fury typical of Sandler’s poetic approach ” Wilson as well called Sandler "a filmmaker to watch "Katie Walsh in her IndieWire review wrote, ”Anchored by a quartet of equally strong and understated performances, LIVE CARGO proves itself to be a singularly artful film of great emotional heft ”  Walsh gave the film an A - grade Stephen Saito for The Moveable Fest in his review and interview wrote, "While there’s intrigue aplenty as anxieties rise higher than the tide, the assured hand of director Logan Sandler, who co-wrote the script with Thymaya Payne, guides 'Live Cargo' admirably as a thriller that may appear immediately as monochrome but shifts quickly into varying degrees of grey ”H  Nelson Tracey of Cinemacy wrote that Sandler's, “Live Cargo is an unforgettable debut and a promise of greater heights to come ”Justin Lowe of the Hollywood Reporter in his review stated, “A pronounced sense of style and place suffuses the entire film, boding well for Sandler’s future projects ”

Awards/Nominations
Passage 3:
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)
Passage 4:
Scotty Fox
Scott Fox is a pornographic film director who is a member of the AVN Hall of Fame 

Awards
1992 AVN Award – Best Director, Video (The Cockateer)
1995 AVN Hall of Fame inductee
Passage 5:
Dan Milne
Dan Milne is a British actor/director who is possibly best known for his role in EastEnders 

Career
He started his career in 1996 and made an appearance in Murder Most Horrid and as a pub poet in In a Land of Plenty  He then appeared in EastEnders as David Collins, Jane Beale's dying husband 
As a member of the Young Vic, he collaborated with Tim Supple to originate  Grimm Tales, which toured internationally, culminating in a Broadway run at the New Victory Theater  Since that time he has collaborated on more than seven major new works, including Two Men Talking, which has run for the past six years in various cities across the world  In 2013, he replaced Ken Barrie as the voice of the Reverend Timms in the children's show, Postman Pat 
Passage 6:
Season of Strangers
Season of Strangers (sometimes referred as haiku film) is 1959 unfinished American 16 mm black and white Avant-garde-experimental short film directed by Maya Deren 

Production
The film began as a part of Deren's workshop which took place in Woodstock, New York, during July 6 to July 25 in 1959  Deren after claimed that the location was important for the structure of the film  Also the lyrical aspect of Japanese Haiku motivated the fim as well 
Passage 7:
Marshall Leib
Marshall Leib (January 26, 1939 – March 15, 2002) was an American singer and one of the original members of The Teddy Bears   Leib and his high school friend, producer Phil Spector, formed the trio  Leib performed background harmony vocals on the Teddy Bears hit "To Know Him Is to Love Him", which became the number one song in the United States in 1958  It had since been covered by numerous artists such as Dolly Parton and Amy Winehouse 

Biography
Leib was involved with the movie "Ode to Billie Joe" which featured the hit "Ode To Billie Joe" by Bobbie Gentry  He also worked with Herb Alpert, Jerry Moss, The We Five, Chris Montez and Ralph Williams/The Marauders during their early years at A&M Records In 1966, Leib was hired by Randy Wood to produce the album "Songs of Protest and Anti-Protest" by "Chris Lucey" (who was in actuality Bobby Jameson) for Surrey Records In 1967, Leib produced a twelve song L P  for a group called The Brownstones that featured top session drummer Sandy Konikoff along with vocalist Aaron Brownstone, guitarist Dick Douglas and bassist Tom Hankins  He was attempting to create a "supergroup", but the vocalist was killed in a motorcycle accident and Konikoff went on to play with Taj Mahal and others  Collectors are looking for a copy of this Leib-produced missing LP, but it is believed that ABC Records destroyed all copies Leib later became involved with the L A  Street Scene, a yearly festival held in the streets of downtown L A  that was the precursor to the modern super festival Leib collected Ferrari automobiles and belonged to a Ferrari club   He was also a classic (antique) automobile aficionado   In the 1990s, Leib produced an album of female vocal Christmas songs   Leib married, divorced, and later suffered a fatal heart attack   He is survived by two biological sons (Jason Leib and Lucas Leib) and one adopted son, Jason Lawrence 
Passage 8:
Maya Deren
Maya Deren (born Eleonora Derenkovskaya, Ukrainian: Елеоно́ра Деренко́вська; May 12 [O S  April 29] 1917 – October 13, 1961) was a Ukrainian-born (then part of the Russian Empire, now independent Ukraine) American experimental filmmaker and important part of the avant-garde in the 1940s and 1950s  Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer, and photographer 
The function of film, Deren believed, was to create an experience  She combined her expertise in dance and choreography, ethnography, the African spirit religion of Haitian Vodou,  symbolist poetry and gestalt psychology (student of Kurt Koffka)  in a series of perceptual, black-and-white short films  Using editing, multiple exposures, jump-cutting, superimposition, slow-motion, and other camera techniques to her advantage, Deren abandoned established notions of physical space and time, innovating through carefully planned films with specific conceptual aims Meshes of the Afternoon (1943), her collaboration with her husband at the time Alexander Hammid, has been one of the most influential experimental films in American cinema history  Deren went on to make several more films, including but not limited to At Land (1944), A Study in Choreography for Camera (1945), and Ritual in Transfigured Time (1946), writing, producing, directing, editing, and photographing them with help from only one other person, Hella Heyman, her camerawoman 

Early life
Deren was born May 12 [O S  April 29] 1917 in Kyiv, Ukraine, Russian Empire, now independent Ukraine, into a Jewish family, to psychologist Solomon Derenkowsky and Gitel-Malka (Marie) Fiedler, who supposedly named her after Italian actress Eleonora Duse In 1922, the family fled the Ukrainian SSR because of antisemitic pogroms perpetrated by the White Volunteer Army and moved to Syracuse, New York  Her father shortened the family name from Derenkovskaya to "Deren" shortly after they arrived in New York  He became the staff psychiatrist at the State Institute for the Feeble-Minded in Syracuse  Deren's mother was a musician and dancer who had studied these arts in Kyiv  In 1928, Deren's parents became naturalized citizens of the United States Deren was highly intelligent, starting fifth grade at only eight years old  She attended the League of Nations International School of Geneva, Switzerland for high school from 1930 to 1933  Her mother moved to Paris, France to be nearer to her while she studied  Deren learned to speak French while she was abroad Deren enrolled at Syracuse University at sixteen, where she began studying journalism and political science  Deren became a highly active socialist activist during the Trotskyist movement in her late teens  She served as National Student Secretary in the National Student office of the Young People's Socialist League and was a member of the Social Problems Club at Syracuse University  
At age eighteen in June 1935, she married Gregory Bardacke, a socialist activist whom she met through the Social Problems Club  After his graduation in 1935, she moved to New York City  She finished school at New York University with a Bachelor's degree in literature in June 1936, and returned to Syracuse that fall  She and Bardacke became active in various socialist causes in New York City; and it was during this time that they separated and eventually divorced three years later In 1938, Deren attended the New School for Social Research, and received a master's degree in English literature at Smith College  Her Master's thesis was titled The Influence of the French Symbolist School on Anglo-American Poetry (1939)  This included works of Pound, Eliot, and the Imagists  By the age of 21, Deren had earned two degrees in literature 

Early career
After graduation from Smith, Deren returned to New York's Greenwich Village, where she joined the European émigré art scene  She supported herself from 1937 to 1939 by freelance writing for radio shows and foreign-language newspapers  During that time she also worked as an editorial assistant to famous American writers Eda Lou Walton, Max Eastman, and then William Seabrook  She wrote poetry and short fiction, tried her hand at writing a commercial novel, and also translated a work by Victor Serge which was never published  She became known for her European-style handmade clothes, wild red curly hair and fierce convictions In 1940, Deren moved to Los Angeles to focus on her poetry and freelance photography  In 1941, Deren wrote to Katherine Dunham—an African American dancer, choreographer, and anthropologist of Caribbean culture and dance—suggesting a children's book on dance and applying for a managerial job for her and her dance troupe; she later became Dunham's assistant and publicist  Deren travelled with the troupe for a year, learning greater appreciation for dance, as well as interest and appreciation for Haitian culture  Dunham's fieldwork influenced Deren's studies of Haitian culture and Vodou mythology  At the end of touring a new musical Cabin in the Sky, the Dunham dance company stopped in Los Angeles for several months to work in Hollywood  It was there that Deren met Alexandr Hackenschmied (who later changed his name to Alexander Hammid), a celebrated Czech-born photographer and cameraman who would become Deren's second husband in 1942  Hackenschmied had fled from Czechoslovakia in 1938 after the Sudetenland crisis  
Deren and Hammid lived together in Laurel Canyon, where he helped her with her still photography which focused on local fruit pickers in Los Angeles  Of two still photography magazine assignments of 1943 to depict artists active in New York City,  including Ossip Zadkine, her photographs appeared in the Vogue magazine article  The other article intended for Mademoiselle magazine was not published, but three signed enlargements of photographs intended for this article, all depicting Deren's friend New York ceramist Carol Janeway, are preserved in the MoMA and the Philadelphia Museum of Art  All prints were from Janeway's estate 

Personal life
In 1943, she moved to a bungalow on Kings Road in Hollywood and adopted the name Maya, a pet name her second husband Hammid coined  Maya is the name of the mother of the historical Buddha as well as the dharmic concept of the illusory nature of reality  In Greek myth, Maia is the mother of Hermes and a goddess of mountains and fields 
In 1944, back in New York City, her social circle included Marcel Duchamp, André Breton, John Cage, and Anaïs Nin In 1944, Deren filmed The Witch's Cradle in Peggy Guggenheim's Art of This Century gallery with Duchamp featured in the film 
In the December 1946 issue of Esquire magazine, a caption for her photograph teased that she "experiments with motion pictures of the subconscious, but here is finite evidence that the lady herself is infinitely photogenic " Her third husband, Teiji Itō, said: "Maya was always a Russian  In Haiti she was a Russian  She was always dressed up, talking, speaking many languages and being a Russian "

Film career
Deren defined cinema as an art, provided an intellectual context for film viewing, and filled a theoretical gap for the kinds of independent films that film societies were featuring As Sarah Keller states, “Maya Deren lays claim to the honor of being one of the most important pioneers of the American film avant-garde with a scant seventy-five or so minutes of finished films to her credit ”Deren began to screen and distribute her films in the United States, Canada, and Cuba, lecturing and writing on avant-garde film theory, and additionally on Vodou  In February 1946 she booked the Provincetown Playhouse in Greenwich Village for a major public exhibition, titled Three Abandoned Films, in which she showed Meshes of the Afternoon (1943), At Land (1944) and A Study in Choreography for Camera (1945)  The event was completely sold out, inspiring Amos Vogel's formation of Cinema 16, the most successful film society of the 1950s In 1946, she was awarded a Guggenheim Fellowship for "Creative Work in the Field of Motion Pictures", and in 1947, won the Grand Prix International for avant-garde film at the Cannes Film Festival for Meshes of the Afternoon  She then created a scholarship for experimental filmmakers, the Creative Film Foundation Between 1952 and 1955, Deren collaborated with the Metropolitan Opera Ballet School and Antony Tudor to create The Very Eye of Night 
Deren's background and interest in dance appears in her work, most notably in the short film A Study in Choreography for Camera (1945)  This combination of dance and film has often been referred to as "choreocinema", a term first coined by American dance critic John Martin In her work, she often focused on the unconscious experience, such as in Meshes of the Afternoon  This is thought to be inspired by her father who was a student of psychiatrist Vladimir Bekhterev who explored trance and hypnosis as neurological states  She also regularly explored themes of gender identity,  incorporating elements of introspection and mythology  Despite her feminist subtext, she was mostly unrecognized by feminist writers at the time, even influential writers Claire Johnston and Laura Mulvey ignored Deren at the time, though Mulvey later would give Deren this recognition, since their works were often in conversation with each other 

Major films
Meshes of the Afternoon (1943)
In 1943, Deren purchased a used 16mm Bolex camera with some of the inheritance money after her father's death from a heart attack  This camera was used to make her first and best-known film, Meshes of the Afternoon (1943), made in collaboration with Hammid in their Los Angeles home on a budget of $250  Meshes of the Afternoon is recognized as a seminal American avant-garde film  It is the first example of a narrative work in avant-garde American film; critics have seen autobiographical elements in the film, as well as thoughts about woman as subject rather than as object  Originally a silent film with no dialogue, music for the film was composed, long after its initial screenings, by Deren's third husband Teiji Itō in 1952  The film can be described as an expressionistic "trance film", full of dramatic angles and innovative editing  It investigates the ephemeral ways in which the protagonist's unconscious mind works and makes connections between objects and situations  A woman, played by Maya Deren, walks up to a house in Los Angeles, falls asleep and seems to have a dream  The sequence of walking up to the gate on the partially shaded road restarts numerous times, resisting conventional narrative expectations, and ends in various situations inside the house  Movement from the wind, shadows and the music sustain the heartbeat of the dream  Recurring symbols include a cloaked figure, mirrors, a key, and a knife 
The loose repetition and rhythm cut short any expectation of a conventional narrative, heightening the dream-like qualities  The camera initially does not show her face, which precludes identification with a particular woman, which creates a universalizing, totalizing effect- as it is easier to relate to an unknown, faceless woman  Multiple selves appear, shifting between the first and third person, suggesting that the super-ego is at play, which is in line with the psychoanalytic Freudian staircase and flower motifs  This kind of Freudian interpretation, which she disagreed with, led Deren to add sound, composed by Teiji Itō, to the film  
Another interpretation is that each film is an example of a "personal film"  Her first film, Meshes of the Afternoon, explores a woman's subjectivity and relation to the external world  Georges Sadoul said Deren may have been "the most important figure in the post-war development of the personal, independent film in the U S A " In featuring the filmmaker as the woman whose subjectivity in the domestic space is explored, the feminist dictum "the personal is political" is foregrounded  As with her other films on self-representation, Deren navigates conflicting tendencies of the self and the "other", through doubling, multiplication and merging of the woman in the film  Following a dreamlike quest with allegorical complexity, Meshes of the Afternoon has an enigmatic structure and a loose affinity with both film noir and domestic melodrama  The film is famous for how it resonated with Deren's own life and anxieties  According to a review in The Moving Image, "this film emerges from a set of concerns and passionate commitments that are native to Deren's life and her trajectory  The first of these trajectories is Deren's interest in socialism during her youth and university years" 

Director's notes
There is no concrete information about the conception of Meshes of the Afternoon beyond that Deren offered the poetic ideas and Hammid was able to turn them into visuals, as she envisioned them  Deren's initial concept began on the terms of a subjective camera, one that would show the point of view of herself without the aid of mirrors and would move as her eyes through spaces  According to the earliest program note, she describes Meshes of the Afternoon as follows:

This film is concerned with the interior experiences of an individual  It does not record an event which could be witnessed by other persons  Rather, it reproduces the way in which the subconscious of an individual will develop, interpret, and elaborate an apparently simple and casual incident into a critical emotional experience 

At Land (1944)
Deren filmed At Land in Port Jefferson and Amagansett, New York in the summer of 1944  Taking on more of an environmental psychologist's perspective, Deren "externalizes the hidden dynamic of the external world   as if I had moved from a concern with the life of the fish, to a concern with the sea which accounts for the character of the fish and its life " Maya Deren washes up on the shore of the beach, and climbs up a piece of driftwood that leads to a room lit by chandeliers, and one long table filled with men and women smoking  She seems to be invisible to the people as she crawls across the table, uninhibited; her body continues seamlessly again onto a new frame, crawling through foliage; following the flowing pattern of water on rocks; following a man across a farm, to a sick man in bed, through a series of doors, and finally popping up outside on a cliff  She shrinks in the wide frame as she walks farther away from the camera, up and down sand dunes, then frantically collecting rocks back on the shore  Her expression seems confused when she sees two women playing chess in the sand  She runs back through the entire sequence, and because of the jump-cuts, it seems as though she is a double or "doppelganger", where her earlier self sees her other self running through the scene  Some of her movements are controlled, suggesting a theatrical, dancer-like quality, while some have an almost animalistic sensibility as she crawls through the seemingly foreign environments  This is one of Deren's films in which the focus is on the character's exploration of her own subjectivity in her physical environment, inside as well as outside her subconscious, although it has a similar amorphous quality compared to her other films 

A Study in Choreography for Camera (1945)
In the spring of 1945 she made A Study in Choreography for Camera, which Deren said was "an effort to isolate and celebrate the principle of the power of movement " The compositions and varying speeds of movement within the frame inform and interact with Deren's meticulous edits and varying film speeds and motions to create a dance that Deren said could only exist on film  Excited by the way the dynamic of movement is greater than anything else within the film, Maya established a completely new sense of the word "geography" as the movement of the dancer transcends and manipulates the ideas of both time and space  "For Deren, no transition is needed between a place outside (such as a forest, or a park, or the beach) and an interior room  One action can be performed across different physical spaces, as in A Study in Choreography For Camera (1945), and in this way sews together layers of reality, thereby suggesting continuity between different levels of consciousness "At just under 3 minutes long, A Study in Choreography for Camera is a fragment depicting a carefully constructed exploration of a man who dances in a forest, and then seems to teleport to the inside of a house because of how continuous his movements are from one place to the next  The edit is broken, choppy, showing different angles and compositions, and even with parts in slow-motion, Deren is able to keep the quality of the leap smooth and seemingly uninterrupted  The choreography is perfectly synched as he seamlessly appears in an outdoor courtyard and then returns to an open, natural space  It shows a progression from nature to the confines of society, and back to nature  The figure belongs to dancer and choreographer Talley Beatty, whose last movement is a leap across the screen back to the natural world  Deren and Beatty met through Katherine Dunham, while Deren was her assistant and Beatty was a dancer in her company  It is worth noting that Beatty collaborated heavily with Deren in the creation of this film, hence why he is credited alongside Deren in the film's credit sequence  The film is also subtitled 'Pas de Deux', a dance term referring to a dance between two people, or in this case, a collaboration between Deren and Beatty A Study in Choreography for Camera was one of the first experimental dance films to be featured in the New York Times as well as Dance Magazine 

Ritual in Transfigured Time (1946)
By her fourth film, Deren discussed in An Anagram that she felt special attention should be given to unique possibilities of time and that the form should be ritualistic as a whole  Ritual in Transfigured Time began in August and was completed in 1946  It explored the fear of rejection and the freedom of expression in abandoning ritual, looking at the details as well as the bigger ideas of the nature and process of change  The main roles were played by Deren herself and the dancers Rita Christiani and Frank Westbrook 

Meditation on Violence (1948)
Deren's Meditation on Violence was made in 1948  Chao-Li Chi's performance obscures the distinction between violence and beauty  It was an attempt to "abstract the principle of ongoing metamorphosis", found in Ritual in Transfigured Time, though Deren felt it was not as successful in the clarity of that idea, brought down by its philosophical weight  Halfway through the film, the sequence is rewound, producing a film loop 

Criticism of Hollywood
Throughout the 1940s and 1950s, Deren attacked Hollywood for its artistic, political and economic monopoly over American cinema  She stated, "I make my pictures for what Hollywood spends on lipstick," criticizing the amount of money spent on production  She also observed that Hollywood "has been a major obstacle to the definition and development of motion pictures as a creative fine-art form " She set herself in opposition to the Hollywood film industry's standards and practices 
Deren talks about the freedoms of independent cinema:

Artistic freedom means that the amateur filmmaker is never forced to sacrifice visual drama and beauty to a stream of words   to the relentless activity and explanations of a plot   nor is the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes   Instead of trying to invent a plot that moves, use the movement of wind, or water, children, people, elevators, balls, etc  as a poem might celebrate these  And use your freedom to experiment with visual ideas; your mistakes will not get you fired 

Haiti and Voudoun
When Maya Deren decided to make an ethnographic film in Haiti, she was criticized for abandoning avant-garde film where she had made her name, but she was ready to expand to a new level as an artist  She had studied ethnographic footage by Gregory Bateson in Bali in 1947, and was interested in including it in her next film  In September, she divorced Hammid and left for a nine-month stay in Haiti  The Guggenheim Fellowship grant in 1946 enabled Deren to finance her travel and film footage for what would posthumously become  Meditation on Violence  She went on three additional trips through 1954 to document and record the rituals of Haitian Vodou 
A source of inspiration for ritual dance was Katherine Dunham who wrote her master's thesis on Haitian dances in 1939, which Deren edited  While working as Dunham's assistant, Deren was given access to Dunham's archive which included 16mm documents on the dances in Trinidad and Haiti  Exposure to these documents led her to write her 1942 essay titled, "Religious Possession in Dancing " Afterwards, Deren wrote several articles on religious possession in dancing before her first trip to Haiti  Deren filmed, recorded and photographed many hours of Vodou ritual, but she also participated in the ceremonies  She documented her knowledge and experience of Vodou in Divine Horsemen: The Living Gods of Haiti (New York: Vanguard Press, 1953), edited by Joseph Campbell, which is considered a definitive source on the subject  She described her attraction to Vodou possession ceremonies, transformation, dance, play, games and especially ritual came from her strong feeling on the need to decenter our thoughts of self, ego and personality  In her book An Anagram of Ideas on Art, Form, and Film she wrote:

The ritualistic form treats the human being not as the source of the dramatic action, but as a somewhat depersonalized element in a dramatic whole  The intent of such depersonalization is not the destruction of the individual; on the contrary, it enlarges him beyond the personal dimension and frees him from the specializations and confines of personality  He becomes part of a dynamic whole which, like all such creative relationships, in turn, endow its parts with a measure of its larger meaning 
Deren filmed 18,000 feet of Vodou rituals and people she met in Haiti on her Bolex camera  The footage was incorporated into a posthumous documentary film Divine Horsemen: The Living Gods of Haiti, edited and produced in 1977 (with funding from Deren's friend James Merrill) by her ex-husband, Teiji Itō (1935–1982), and his wife Cherel Winett Itō (1947–1999)  All of the original wire recordings, photographs and notes are held in the Maya Deren Collection at the Howard Gotlieb Archival Research Center at Boston University  The film footage is housed at Anthology Film Archives in New York City 
An LP of some of Deren's wire recordings was published by the newly formed Elektra Records in 1953 entitled Voices of Haiti  The cover art for the album was by Teiji Itō Anthropologists Melville Herkovitz and Harold Courlander acknowledged the importance of Divine Horsemen, and in contemporary studies it is often cited as an authoritative voice, where Deren's methodology has been especially praised because "Vodou has resisted all orthodoxies, never mistaking surface representations for inner realities "In her book of the same name Deren uses the spelling Voudoun, explaining: "Voudoun terminology, titles and ceremonies still make use of the original African words and in this book they have been spelled out according to usual English phonetics and so as to render, as closely as possible, the Haitian pronunciation  Most of the songs, sayings and even some of the religious terms, however, are in Creole, which is primarily French in derivation (although it also contains African, Spanish and Indian words)  Where the Creole word retains its French meaning, it has been written out so as to indicate both the original French word and the distinctive Creole pronunciation " In her Glossary of Creole Words, Deren includes 'Voudoun' while the Shorter Oxford English Dictionary draws attention to the similar French word, Vaudoux 

Death
Deren died in 1961, at the age of 44, from a brain hemorrhage brought on by extreme malnutrition  Her condition may have also been weakened by her long-term dependence on amphetamines and sleeping pills prescribed by Max Jacobson, a doctor and member of the arts scene, notorious for his liberal prescription of drugs, who later became famous as one of President John F  Kennedy's physicians 
Her ashes were scattered in Japan at Mount Fuji 

Legacy
Deren was a muse and inspiration to such up-and-coming avant-garde filmmakers as Curtis Harrington, Stan Brakhage, and Kenneth Anger, who emulated her independent, entrepreneurial spirit  Her influence can also be seen in films by Carolee Schneemann, Barbara Hammer, and Su Friedrich  In his review for renowned experimental filmmaker David Lynch's Inland Empire, writer Jim Emerson compares the work to Meshes of the Afternoon, apparently a favorite of Lynch's Deren was a key figure in the creation of a New American Cinema, highlighting personal, experimental, underground film  In 1986, the American Film Institute created the Maya Deren Award to honor independent filmmakers 
The Legend of Maya Deren, Vol  1 Part 2 consists of hundreds of documents, interviews, oral histories, letters, and autobiographical memoirs Works about Deren and her works have been produced in various media:

Deren appears as a character in the long narrative poem The Changing Light at Sandover (1976-1980) by her friend James Merrill 
In 1987, Jo Ann Kaplan directed a biographical documentary about Deren, titled Invocation: Maya Deren (65 min)
In 1994, the UK-based Horse and Bamboo Theatre created and toured Dance of White Darkness throughout Europe—the story of Deren's visits to Haiti 
In 2002, Martina Kudlacek directed a feature-length documentary about Deren, titled In the Mirror of Maya Deren (Im Spiegel der Maya Deren), which featured music by John Zorn Deren's films have also been shown with newly written alternative soundtracks:

In 2004, the British rock group Subterraneans produced new soundtracks for six of Deren's short films as part of a commission from Queen's University Belfast's annual film festival  At Land won the festival prize for sound design 
In 2008, the Portuguese rock group Mão Morta produced new soundtracks for four of Deren's short films as part of a commission from Curtas Vila do Conde's annual film festival 

Awards and honors
Guggenheim Fellowship 1946
Grand Prix Internationale for Amateur Film
Creative Work in Motion Pictures (1947)
Cannes Film Festival (1947)

Filmography
Discography
Vinyl LPs
Written works
Deren was also an important film theorist  

Her most widely read essay on film theory is probably An Anagram of Ideas on Art, Form and Film, Deren's seminal treatise that laid the groundwork for many of her ideas on film as an art form (Yonkers, NY: Alicat Book Shop Press, 1946) 
Her collected essays were published in 2005 and arranged in three sections:Film Poetics, including: Amateur versus Professional, Cinema as an Art Form, An Anagram of Ideas on Art, Form and Film, Cinematography: The Creative Use of Reality
Film Production, including: Creating Movies with a New Dimension: Time, Creative Cutting, Planning by Eye, Adventures in Creative Film-Making
Film in Medias Res, including: A Letter, Magic is New, New Directions in Film Art, Choreography for the Camera, Ritual in Transfigured Time, Meditation on Violence, The Very Eye of Night Divine Horsemen: Living Gods of Haiti was published in 1953 by Vanguard Press (New York City) and Thames & Hudson (London), republished under the title of The Voodoo Gods by Paladin in 1975, and again under its original title by McPherson & Company in 1998 

See also
List of Guggenheim Fellowships awarded in 1946
Women's cinema
Passage 9:
The Yellow Teddy Bears
The Yellow Teddy Bears (US: Gutter Girls and The Thrill Seekers) is a 1963 British drama film directed by Robert Hartford-Davis and starring Jacqueline Ellis, Iain Gregory, Raymond Huntley and Georgina Patterson 

Premise
The pupils at a girls' school deal with adult issues such as teen pregnancy 

Cast
Jacqueline Ellis - Anne Mason
Iain Gregory - Kinky
Georgina Patterson - Pat
John Bonney - Paul
Annette Whiteley - Linda
Douglas Sheldon - Mike Griffin
Victor Brooks - George Donaghue
Anne Kettle - Sally
Lesley Dudley as Joan
Jill Adams - June Wilson
John Glyn-Jones - Benny Wintle
Raymond Huntley - Harry Halburton
Harriette Johns - Lady Gregg
Noel Dyson - Muriel Donaghue
Richard Bebb - Frank Lang
Ann Castle - Eileen Lang
Micheline Patton - Mrs  Broome
Irene Richardson - extra
Passage 10:
Elliot Silverstein
Elliot Silverstein (born August 3, 1927) is a retired American film and television director  He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977)  His television work includes four episodes of The Twilight Zone (1961–1964) 

Career
Elliot Silverstein was the director of six feature films in the mid-twentieth century  The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin 
The other Silverstein films, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire 
Other work included directing for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt 
While Silverstein was not a prolific director, his films were often decorated  Cat Ballou, for instance, earned one Oscar and was nominated for four more  His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild of America 

Awards
In 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award – Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou 
He was also nominated for the Golden Berlin Bear In 1966, he was nominated for the DGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou) 
In 1971, he won the Bronze Wrangler award at the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, Jean Gascon, Corinna Tsopei and Richard Harris In 1985, he won the Robert B  Aldrich Achievement Award from the Directors Guild of America 
In 1990, he was awarded the DGA Honorary Life Member Award 

Personal life
Silverstein has been married three times, each ending in divorce  His first marriage was to Evelyn Ward in 1962; the couple divorced in 1968  His second marriage was to Alana King  During his first marriage, he was the step-father of David Cassidy 
He currently lives in North Hollywood, Los Angeles  Actively retired, Silverstein has taught film at USC and continues to work on screen plays and other projects 

Filmography
Tales from the Crypt (TV Series) (1991–94)
Picket Fences (TV Series) (1993)
Rich Men, Single Women (TV Movie) (1990)
Fight for Life (TV Movie) (1987)
Night of Courage (TV Movie) (1987)
Betrayed by Innocence (TV Movie) (1986)
The Firm (TV Series) (1982–1983)
The Car (1977)
Nightmare Honeymoon (1974)
A Man Called Horse (1970)
The Happening (1967)
Cat Ballou (1965)
Kraft Suspense Theatre (TV Series) (1963–64)
The Defenders (TV Series) (1962–64)
Arrest and Trial (TV Series) (1964)
The Doctors and the Nurses (TV Series) (1962–64)
Twilight Zone (TV Series) (1961–64)
Breaking Point (TV Series) (1963)
Dr  Kildare (TV Series) (1961–63)
The Dick Powell Theatre (TV Series) (1962)
Belle Sommers (TV Movie) (1962)
Naked City (TV Series) (1961–62)
Have Gun - Will Travel (TV Series) (1961)
Route 66 (TV Series) (1960–61)
Checkmate (TV Series) (1961)
The Westerner (TV Series) (1960)
Assignment: Underwater (TV Series) (1960)
Black Saddle (TV Series) (1960)
Suspicion (TV Series) (1958)
Omnibus (TV Series) (1954–56)



ground_truth: Season Of Strangers

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 whose director is younger, Cuchillos De Fuego or A Woman Has Killed?

The following are given passages.
Context 3:  It was not long after his revelation that he believed he could achieve both working in theatre and in film, the arts towards which he has focused since he was a teenager  His journey to becoming one of his nation's most renowned directors is framed as starting when he would go to a cinema as a teenager and watch films from the Golden Age of Mexican cinema, though Chalbaud himself says that he was inspired by dramatic angles when playing an angel in a Nativity play as a child and being hoisted into the rafters, able to watch the performance from a detached perspective, and to watch the audience as they watched the action After leaving high school, Chalbaud studied for two years at the Teatro Experimental in Caracas, and then studied directing under Lee Strasberg in New York 

Career
The director was in his late teens when he got jobs working in television, whilst writing plays  When working one television job, in the early 1950s, he reports that his group worked from 3 pm until 9 at night, and would then spend time at a brothel  It is during this time that he found inspiration and stories for his play El Pez que Fuma, which he would later make into a film  He also wrote the plays Los adolescentes, for which he won the Ateneo de Caracas prize, and Caín adolescente in his early television career  It was also the early 1950s when he worked as the assistant director to Mexican filmmaker Víctor Urruchúa, working on two of Urruchúa's films, Six Months of Life and Light in the High Plains  In 1955 he became the artistic director of Televisora Nacional, a company he left in 1958 It is possible that he left Televisora Nacional, the official statement being "for political reasons", when he was imprisoned in 1957 for five months by the regime of Marcos Pérez Jiménez, an experience he says gave him a social conscience to do good after being tortured Before releasing his first film, Chalbaud had seen enough success in playwriting that he was made the director of the National Theatre of Venezuela in 1958  He left this role the year after the release of Caín adolescente, in 1960  He had made two films by 1963, when cinema diminished in Venezuela and he was effectively forced to return to theatre  In 1967 he took the presidency of the UNESCO Latin American Theatre Institute, and it was in this year theatre collective "El Nuevo Grupo" was co-founded by Chalbaud; he dedicated the poem "Us and the Theatre" to the group, with which he has worked extensively since, that same year The success of Chalbaud's plays is placed on his characters, with the social-realist works characterised by an open treatment of dramatic plots, and a supposedly archetypal selection of characters used to portray irony with the social contexts of marginalisation they find themselves, all which critiques the situation of the country  This is also a reason that his plays, many of them that he made into films, are deemed timeless and socially relevant even in the 21st century  He was awarded the National Theatre Award of Venezuela in 1984  He is considered, along with friends Isaac Chocrón and José Ignacio Cabrujas, to be "a prime moving force in continuing the work of César Rengifo in the development of the contemporary Venezuelan theatre"  The three are known as the Holy Trinity of Venezuelan theatre Though making films in this time, he had been largely focused on theatre  This would change after 1969, when Chalbaud left his president role and when Venezuelan cinema entered its Golden Age  He did return to television, joining Radio Caracas Television in 1969, but began his most successful line of work in film direction  Moving into film gave Chalbaud international acclaim, all of his films being screened at film festivals, and one being the first of his country's foreign-language Oscar nominations  His films, some of which are self-adaptations, are said to thematically continue his theatre work  He received the National Film Award of Venezuela in 1990 In 1974, Chalbaud, with other filmmakers of his generation, started Gente de Cine C A , a production company which would produce most of his own films  In 1975, thanks to new national legislation pushed through by the Asociación Nacional de Autores Cinematográficos (National Association of Cinema Auteurs) — ANAC — Chalbaud was the first director to receive protected state funding, making the film Sacred and Obscene  The success of this film quashed the government's doubts about the funding program  He was then named President of the ANAC in 1978, and was the Director General of the Fundación Cinemateca Nacional de Venezuela (National Foundation of Venezuelan Cinema) for two years Chalbaud resigned from Radio Caracas in 1982  In 1985, the San Sebastián Film Festival dedicated a retrospective to him; he has also been on the Jury of this festival, in 1990 In June 2018, he said he was in pre-production for a film trilogy about the life of Hugo Chávez Alfonso Molina, in his 2002 book on the director, wrote that you cannot fully understand the socio-political culture of Venezuela without watching Chalbaud's films 

Personal life
Chalbaud revealed little personal information until he was quite old, when he said that though he loves the landscape of his home city Mérida, he considers Caracas the place to grow old  His favourite play is El Pez que Fuma  Fabián Pierucci, the director of the documentary about his life, says that Chalbaud is "tireless, from his early rise until the night he is reading, writing, going to conferences, helping people" He considers Luis Buñuel a "master" Chalbaud's political affiliation is chavismo, which he believes "most of the country" follows, arguing that Nicolás Maduro is not a dictator and that the opposition since his election are "monsters", justifying the government treatment of opposition members and describing the Constituent National Assembly as Venezuela's legitimate democratic house 

Filmography
Passage 8:
La niña de fuego
La niña de fuego (The fire girl) is a 1952 Argentine film 

Cast
Lolita Torres – Fernanda / Fernando
Ricardo Passano – Pocho
Mario Baroffio – Cipriano Albaicín
César Fiaschi – Pereda
Domingo Márquez – Andrés
Antonio Martelo
Helena Cortesina
Alfonso Pisano – Ramallo
Arsenio Perdiguero – mr  José
Antonio Martiánez – Captain
Delfy Miranda – Ofelia
Noemí Laserre – María de los Cantares
Arturo Arcari
Semillita – box spectator
Helena Cortesina – Clotilde
Carlos Mendi – Marino
Ofelia Cortesina
Luis Laneri
Dante Liguori

External links
La niña de fuego at IMDb
Passage 9:
La selva de fuego
La Selva de Fuego (The Jungle of Fire) is a 1945 Mexican romantic drama film directed by Fernando de Fuentes and starring Dolores del Río 

Plot summary
The movie develops into the Jungle of Chiapas in México  A beautiful woman named Estrella (Dolores del Río) lost in a savage zone of the jungle  She is found by a group of men who are being held into the jungle as social outcasts  Their leader, Luciano (Arturo de Córdova) is a man of integrity, but with an inexplicable hatred toward women  The presence of a sensual woman between several alone men causing a chaos that only Luciano can save 

Curiosities
According to María Félix in her autobiography (Todas mis Guerras México, 1993), cause of this movie, she and Dolores del Río mistook their paths for only time  The film was written by Félix, but the messenger sent by mistake the film for Dolores  María finished filming the movie Vértigo (written by Dolores) 
Passage 10:
A Woman Has Killed
A Woman Has Killed (Italian: Una donna ha ucciso) is a 1952 Italian melodrama crime film directed by Vittorio Cottafavi  While on a train journey a young woman tells another passenger how she murdered her husband, a British army officer  It is a neorealist film, based on the real story of Lidia Cirillo, who appears in the film 
The film's sets were designed by the art director Ottavio Scotti 

Cast
Frank Latimore as 	Capt  Roy Prescott
Lianella Carell as 	Anna
Alessandro Serbaroli as 	Larry (as Alex Serbaroli)
Vera Palumbo as 	Carla
Umberto Spadaro as 	Padre di Anna
Marika Rowsky
Celeste Aída
Diego Muni
Vincenzo Milazzo
Pia De Doses
Lidia Cirillo



ground_truth: Cuchillos De Fuego