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:
Drew Esocoff
Drew Esocoff (born c  1957) is an American television sports director, who as of 2006 has been the director of NBC Sunday Night Football 

Early life
Esocoff was born in Elizabeth, New Jersey, graduating from Thomas Jefferson High School in 1975, later attending Colgate University  While in college he worked as a substitute teacher at Elizabeth High School where one of his students was Todd Bowles 

Career
Esocoff has worked for ESPN and ABC, serving as director for Monday Night Football, SportsCenter, and the NBA Finals, as well as five Super Bowls  Since 2006, he has served as director for NBC Sunday Night Football 
As of 2015, Esocoff has won 11 Emmy Awards 
Passage 2:
G  Marthandan
G  Marthandan is an Indian film director who works in Malayalam cinema  His debut film is Daivathinte Swantham Cleetus

Early life
G  Marthandan was born to M  S  Gopalan Nair and P  Kamalamma at Changanassery in Kottayam district of Kerala  He did his schooling at NSS Boys School Changanassery and completed his bachelor's degree in Economics at NSS Hindu College, Changanassery 

Career
After completing his bachelor's degree, Marthandan entered films as an associate director with the unreleased film Swarnachamaram directed by Rajeevnath in 1995  His next work was British Market, directed by Nissar in 1998  He worked as an associate director for 18 years He made his directional debut with Daivathinte Swantham Cleetus in 2013, starring Mammooty in the lead role  His next movie was in 2015, Acha Dhin, with Mammooty and Mansi Sharma in the lead roles  Daivathinte Swantham Cleetus and Paavada were box office successes 

Filmography
As director
As associate director
As actor
TV serialKanyadanam (Malayalam TV series) - pilot episode

Awards
Ramu Kariat Film Award - Paavada (2016)
JCI Foundation Award - Daivathinte Swantham Cleetus (2013)
Passage 3:
Abhishek Saxena
Abhishek Saxena is an Indian Bollywood and Punjabi film director who directed the movie Phullu  The Phullu movie was released in theaters on 16 June 2017, in which film Sharib Hashmi is the lead role  Apart from these, he has also directed Patiala Dreamz, this is a Punjabi film  This film was screened in cinemas in 2014 

Life and background
Abhishek Saxena was born on 19 September 1988 in the capital of India, Delhi, whose father's name is Mukesh Kumar Saxena  Abhishek Saxena married Ambica Sharma Saxena on 18 December 2014  His mother's name is Gurpreet Kaur Saxena 
Saxena started his career with a Punjabi film Patiala Dreamz, after which he has also directed a Hindi film Phullu, which has appeared in Indian cinemas on 16 June 2017 

Career
Abhishek Saxena made his film debut in 2011 as an assistant director on Doordarshan with Ashok Gaikwad  He made his first directed film Patiala Dreamz, this is a Punjabi movie After this, he has also directed a Hindi film Phullu in 2017, which has been screened in cinemas on 16 June 2017  Saxena is now making his upcoming movie "India Gate" 
In 2018 Abhishek Saxena has come up with topic of body-shaming in his upcoming movie Saroj ka Rishta 
 Where Sanah Kapoor will play the role of Saroj and actors Randeep Rai and Gaurav Pandey will play the two men in Saroj's life Yeh Un Dinon ki Baat Hai lead Randeep Rai will make his Bollywood debut  Talking about the film, director Abhishek Saxena told Mumbai Mirror, "As a fat person, I have noticed that body-shaming doesn’t happen only with those who are on the heavier side, but also with thin people  The idea germinated from there "
Career as an Assistant DirectorApart from this, he has played the role of assistant director in many films and serials in the beginning of his career, in which he has a television serial in 2011, Doordarshan, as well as in 2011, he also assisted in a serial of Star Plus 
In addition to these serials, he played the role of assistant director in the movie "Girgit" which was made in Telugu language 

Filmography
As Director
Passage 4:
Mayor Muthanna
Mayor Muthanna is a 1969 Indian Kannada-language film directed by Siddalingaiah  The film stars Rajkumar and Bharathi  The film was Siddalingaiah's debut as a director and actor Dwarkish's first independent production venture who had earlier co- produced the 1966 movie Mamatheya Bandhana with 2 other people under Thunga Pictures  The sub-plot of the film regarding the salvaging of the sub-standard grain was inspired by the 1886 novel The Mayor of Casterbridge by Thomas Hardy  The movie was remade in Telugu in 1974 as Chairman Chalamayya starring Chalam 

Cast
Soundtrack
The music of the film was composed by the duo Rajan–Nagendra, with lyrics penned by Chi  Udaya Shankar 
Passage 5:
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 6:
The Market of Souls
The Market of Souls is a 1919 American silent drama film directed by Joe De Grasse and written by John Lynch and C  Gardner Sullivan  The film stars Dorothy Dalton, Holmes Herbert, Philo McCullough, Dorcas Mathews, Donald McDonald, and George Williams  The film was released on September 7, 1919, by Paramount Pictures 

Plot
As described in a film magazine, Helen Armes (Dalton), a nurse, comes to New York City from Albany to visit her married brother  She arrives on New Year's Eve and is immediately added to a cabaret party being made up to include her brother's wife and Lyle Bane (McCullough), a wealthy bachelor  At the cabaret she meets his brother Temple Bane (Herbert), a woman-hater who begins to believe in her  When she wearies of the performance, Lyle takes her home, lures her into his apartment, and attempts familiarities  She escapes but is judged guilty by her sister-in-law, so she leaves at once and goes to the nurse headquarters  Temple arrives and, after being told a lie about Helen's character and the incident, fights with his brother and receives a blow that blinds him
Context 3: Passage 1:
Paul De Weert
Paul De Weert (born 27 November 1945) is a Belgian rower  He competed at the 1972 Summer Olympics and the 1976 Summer Olympics 
Passage 2:
Paul de Longpré
Paul de Longpré (1855–1911), was a French painter of flowers, who worked mainly in the United States 

Early life
Paul de Longpré was born in Lyon, France, in 1855, and was an entirely self-taught artist  From age 12, he practiced successfully in Paris as a painter of fans  In 1876, at 21, he first exhibited at the Paris Salon  Having lost his money by the failure of a Paris bank, he moved in 1890 to New York City and in 1896 held an exhibition of flower paintings which secured him instant recognition 

Life in Hollywood
De Longpré arrived in Los Angeles, Southern California with his family in 1899  Daeida Wilcox, with husband H  H  Wilcox the founders of Hollywood, was so eager to attract culture to the town that she gave him her homesite for his estate, three lots on Cahuenga on the north of Prospect (later Hollywood Boulevard), in exchange for three of his paintings In 1901, Canadian architect Louis Bourgeois designed a landmark residence for the 3 acres (1 2 ha) estate, in the Mission Revival style  The house included an art gallery to sell prints of de Longpré's paintings, and was surrounded by the expansive "Le Roi de Fleur" flower gardens  Estate tours became a popular tourist destination off an exclusive Balloon Route trolley spur of the Los Angeles Pacific Railroad, that later became a Pacific Electric Redcar line, and with print sales additional sources of income for de Longpré Paul de Longpré is listed in the 1900 US Census, Los Angeles City Ward 5, Precincts 38 B and 73 A, with his wife Josephine and daughters Blance, Alice, and Pauline  His occupation is listed as Artist, but the last name is misspelled as De Lonpre, It indicates Paul, Josephine, Blance, and Alice were born in France, and Pauline was born in New York City  The architect Louis Bourgeois also taught French to de Longpré's daughters, and later married his daughter Alice Paul de Longpré died at home in Los Angeles at age 56, on 29 June 1911 Afterwards, the family moved back to France  The increased property values in rapidly developing Hollywood resulted in demolition of the gardens by 1924, and the house in 1927 

Works
De Longpré only painted specimens of flowers  With a delicacy of touch and feeling for color he united scientific knowledge and art  He also knew how to give expression to the subtle essence of the flowers  Painting floral scenes almost exclusively in watercolors, in the 1900s de Longpre found inspiration in the 4,000 rose bushes he planted on his Hollywood estate  The finest of his paintings include Double Peach Blossoms and White Fringed Poppies (1902) – both widely known through popular reproductions 

Legacy
In present-day Hollywood, the street De Longpre Avenue, and De Longpre Park on it are both named for him 
Passage 3:
Paul de Scherff
Paul de Scherff (14 July 1820 – 22 July 1894) was a Luxembourgian politician 
De Scherff was born in Frankfurt to F  H  W  von Scherff-Arnoldi, who was minister plenipotentiary of the King-Grand Duke to the German Federal Diet   After studying law, Paul de Scherff came to Luxembourg  For six years he was avocat géneral, and later became president of the superior court, at the age of 34  From 24 June 1856 to 11 November 1858 he was Administrateur général (Minister) for Public Works and Railways in the Simons Ministry  From 1869 to 1871, and then again from 1886 to 1892 he was a member of the Chamber of Deputies for the Centre, and was President of the Chamber of Deputies from 1869 until 1872 When the walls of the fortress of Luxembourg were demolished in the 1870s and 1880s, Paul de Scherff was working in the ministry of public works, where he dealt with the building of the municipal parks 
He married Marie Pescatore on 14 September 1842, daughter of Constantin Jos  Antoine Pescatore and niece of Theodore Pescatore   De Scherff was a practising member of the Reformed Church 

Footnotes
Passage 4:
Paul de Cordon
Paul de Cordon (born in 1908 in Toulouse - died in 1998 in Paris) was a French photographer known for his photographs of the circus and the Crazy Horse Saloon  He was also recognized for his portraits and his nudes for which he was, in 1964, considered one of the greatest photographers in the world together with Guy Bourdin and Lucien Clergue  He produced portraits of many personalities such as Johnny Hallyday, Gilbert Bécaud, Mireille Darc, Jacques Brel, Fernand Raynaud, Anna Karina, Samy Davis Jr , Jeanne Moreau, Steve McQueen and his long-time friends, Daniel Sorano and Jacques Dufilho as well as Gonzague Saint Bris with whom he was very close  and who nicknamed him “The Toulouse-Lautrec of photography’’  In 1961 he participated alongside Edouard Boubat, Agnès Varda, Man Ray, Frank Horvat, William Klein and Robert Doisneau in the mythical exhibition "Metamorphosis and invention of a face" around the portrait of Anne- Marie Edvina  He was also an equestrian, fashion and advertising photographer, notably for Nikon and Beaulieu  He collaborated with Europe 1 in the years 1960/70  Paul de Cordon even tried his hand at television by co-presenting the Cirques du Monde program with Jean Richard on channel A2  His works are present in prestigious collections such as those of the National Library of France (BNF), the Rodin museum and W M  Hunt 

Early years
Paul de Cordon was born in Toulouse  His father, Comte Pierre de Cordon, was a cavalry officer; his mother, Marthe de Boyer-Montegut, a cultivated, book-loving woman, was the daughter of Paul de Boyer- Montégut, who, for many years, was mayor of Cugnaux, near Toulouse, where he owned the château de Maurens 
It was in Maurens that Paul de Cordon, as a child, spent his holidays and it was there that he discovered horses which were to become one of the great passions of his life  His grandfather Boyer-Montegut was what was the French call, a “Homme de cheval’’ whose four-in-hand teams were renowned in Toulouse and across the region  As a child, he also lived for several years in Mainz (Germany), where his father was stationed after the First World War  It was around this time that he started taking pictures with a small camera, a gift from his parents  He learned the basic techniques from an old German photographer during long hours spent in his shop 
It was also in Germany where his attraction to the circus was born  The large travelling circuses, like Althoff, then crisscrossed the country with quality shows and numerous animals 
As a teenager, he was a boarder in a Paris school  He was then able to discover a very intense artistic and cultural life thanks to his aunt, the Marquise du Crozet, his mother's elder sister  He attended performances by Serge de Diaghilev's Ballets Russes which, after the war, came on tour every year to Paris  He went to the theater and visited exhibitions with his first cousin, Aimar du Crozet, who was much older than him and took him "under his wing" to serve as his guide to the Paris of the 1920s  Aimar du Crozet also had a passion for horses and races  He was the owner of Master Bob, who won the 1924 Paris Grand Steeple Chase * and who became so famous an athlete that he is mentioned by Ernest Hemingway at the start of his book ‘’Death in the Afternoon’’ 
After his studies Paul de Cordon enlisted in the 18th Dragons cavalry regiment  More than a true military vocation, it was once again the love of horses that motivated him 
At that time almost all the cavalry regiments were mounted and each maintained and trained horses to enter in show jumping events and steeple chases, in which both officers and noncommissioned officers participated  In the 1930s, he thus took part in dozens of races on tracks in France and across Europe 
After the 18th Dragons he was assigned to the 2nd Hussards, in Tarbes, the “Chamborant’’, where he continued his favorite activities; training and riding horses  By an amusing coincidence, his great-grandmother on his mother’s side was Louise de Séganville, daughter of Colonel Baron de Séganville who had been the regiment’s commanding officer between 1813 and 1815 
It was at the 2nd Hussards that he had two encounters that would mean a lot in his life  He befriended Jacques Dufilho who, after interrupting his studies in dental prosthesis, had signed an eighteen-month enlistment contract  * Dufilho will become one of his dearest friends when they meet again after the war  There he also meets Jean Devaivre who completed his military service at “Chamborant’’  Jean Devaivre then went to work in cinema and became a great director, it was he who enabled Paul de Cordon, after the war, to embark on a new life 
Devaivre was not only a cineaste but also an authentic character actor: working during the occupation for the German group Continental Films in Paris, he was at the same time a very active member of the French resistance  His exploits include flying from the Nevers region to London clandestinely after having made the journey from Paris to Nevers in the afternoon    by bicycle  Bertrand Tavernier's film “Laissez-passer’’ is directly inspired by his life, as recounted in his autobiography, “Action’’ 
In 1939, the 2nd Hussards broke up into reconnaissance groups which took part in the 1940 battles on the Ardennes front, * Paul de Cordon participated in these actions in a mounted squadron and was taken prisoner by the Germans  He ended his captivity in the fortress of Colditz where he was liberated by the US military on April 16, 1945 
In 1945 he married Dilette de Rigaud de Vaudreuil and they had three children  He remained in the army for a few more months and was assigned to the Cadre Noir in Saumur 

Second life
After a few months in Saumur, he decided to leave the army  In 1947 Jean Devaivre who had just directed “La dame d’onze heure" with Paul Meurisse, a film of astonishing modernity, offered him a job as his assistant and Paul de Cordon accepted 
He was Devaivre’s first assistant director for “La ferme des sept péchés" ( he was also the stuntman for scenes on horseback) and for "Vendetta en Camargue" where he reunited with Jacques Dufilho  At that time, in addition to being a stuntman he was also an acrobatic and burlesque dancer 
At the beginning of the 1950s, Paul de Cordon decided to become a professional photographer  He set up a studio in Paris and started developing relations with various clients in the press, advertising agencies, fashion designers, show business    
He also began to develop a large-scale personal project on the circus and the Crazy Horse Saloon cabaret  He spent many nights with his camera at Medrano, at the Bouglione brothers' Cirque d’Hiver and at the Crazy Horse Saloon  Until the 1990s he also traveled the world to visit
circuses and bring back photos  Over these years, he has developed close ties with the great dynasties of the circus ring : Schumann, Rancy, Knie, Gruss, Bouglione, Houcke, Medrano, Fratellini etc     In all these families the horse occupied a central role in their performances  This equestrian culture and Paul de Cordon’s experience as a horseman facilitated and consolidated links with all these artists and strengthened their mutual confidence and friendship  His taste for spectacle, ballets and theater helped him to appreciate and better understand the work represented by all these artists  During these years, in addition to his work as a photographer, Paul de Cordon wrote a lot about the circus and this is how the Swiss magazine “L’Année Hippique" often published his articles on horses and circus equestrians 

Circus instants
"Faced with this obstinate pursuit of the perfect gesture, I understood that I was living there what I had always sought: a circus moment"  “Instants de Cirque’’ is the title of Paul de Cordon's most famous book, which brings together a selection of images taken over more than thirty years and which he considered particularly representative  The book was edited by Bernard de Fallois who was also a circus lover and an admirer of Paul de Cordon's photos 
This book, published in 1977 by Le Chêne, allows us, with hindsight, to better understand the originality and peculiarity of Paul de Cordon’s photos  The circus is a subject that has greatly inspired photographers attracted by the spectacular and flashy nature of the circus ring  But there is no flashiness in the photos that appear there, they are intimate, shrouded in mystery, charged with a secret emotion  A photo of Gilbert Houcke with his tiger Prince illustrates their peculiarity well: there is no circus ring nor lights, we are backstage, the tamer wears a worn bathrobe, there is a sort of semi-darkness which brings out the eye of the tiger and his outstretched paw, claws extended, which he offers to the caress of the human hand  Few images make you feel with as much force the reciprocal respect and the affection that there can be between a wild beast and his tamer but also the formidable danger, the courage it takes to face it and the amount of work and humility that represent a successful act  This photo may not be what people call a circus photo, but it illustrates what Paul de Cordon called the “instant de cirque’’  Paul de Cordon had a great admiration for tamers and loved wild animals  He liked to enter their cages, accompanied by the tamer of course  He also
chose to include on the jacket of his book, a photo of himself with the lionesses of Georges Marck, wearing the uniform of the 2nd Hussards  The photo was shot by his brother, Benoît de Cordon 
Paul de Cordon was passionately fond of the circus, but he did not like being labeled as a circus photographer because the documentary aspect often linked to that genre and most often sought after by circophiles, was of no interest to him  What he was interested in and what he wanted to express in his photos was, he said, “the peculiarity of an artist, the very core of his art’’  He had an exceptional talent for capturing what others didn't always see, which is probably why so many circus performers wanted to be photographed by him 

Crazy Horse Saloon
Paul de Cordon met Alain Bernardin at the very beginning of the Crazy Horse Saloon The old coal cellar on the avenue George V had just been converted into a micro cabaret  The former antique dealer who invented the most cerebral strip show in the world and the recently converted cavalry officer shared a common aversion for rules and conventions and were both attracted to show business and pretty women  The friendship between them that lasted many years was punctuated with sulking  They both had a touch of dandyism and a taste for beautiful fabrics and bespoke suits which led them to share a Russian tailor before he emigrated to Hollywood to dress movie stars  Paul de Cordon took hundreds of photos at the Paris cabaret which illustrate the long history of the place   There are also many images shot in the dressing rooms  They are more intimate, devoid of any sort of voyeurism and translate the total confidence of the dancers This part of his work is less well known as it reveals a different face of his talent 

Portraits
Paul de Cordon is not considered a portrait photographer and yet, one realizes when looking at his work, that he also excelled in this particular art as evidenced by portraits of his friends the Gruss brothers, Alexis and André, of the clown Pipo and of Jean Houcke  His striking portrait of the actor Jacques Dufilho, in a black leather coat captures all the austerity and intelligence of this comedian  His portraits of pop stars are of interest in that they totally ignore the canons of the yé-yé aesthetic
imposed by the iconic music magazine « Salut les copains » (Hello mates) 
Paul de Cordon worked regularly for advertising, fashion, and the press 
In advertising he worked for Nikon and Beaulieu shooting their ads and catalogues for several years 
In the press he began working for horse magazines  During the 60’s he did many jobs for the music press and for record companies including photos of pop groups, yé-yé stars, or even latin music groups (Chaussettes noires, Johnny Hallyday, Hugues Aufray, Françoise Hardy, Sylvie Vartan and los Machucambos) 
He was also involved in fashion photography and participated for several years in the July fashion show marathons when Paris studios were overbooked for night photoshoots 

3 zebras
In the contemporary world, images are everywhere, and some photos are more famous than their photographers  Everyone knows “Le baîser de l’hôtel de Ville’’ by Robert Doisneau, “Death of a republican soldier’’ by Robert Capa, or “Dovima and the elephants" by Avedon  Paul de Cordon most famous photo, undoubtedly, is “Three zebras’’ which has been presented in all his exhibitions and appears, of course, in Instants de Cirque although it was not shot in a circus but at the Amsterdam Zoo in 1957  This photo was published worldwide, including in the American edition of Life in March 1962 
Paul de Cordon died in March 1998 in Paris, two years before his wife, Dilette, who had accompanied him to circuses around the world  They are buried in Verneuil in the Nièvre  Paul de Cordon is the grandfather of Pierre-Elie de Pibrac, a photographer known in
particular for his work on the Paris Opera  Photos from his book “In Situ’’ (2014) have been exhibited in France and around the world  It was thanks to his grandfather with whom he was very close, that Pierre-Elie de Pibrac developed his vocation for photography 

Books by Paul de Cordon
Girls of the Crazy Horse Saloon Verlagspresse 1971
Instants de Cirque Edition du chêne 1977
Le Cadre Noir Julliard 1981
Passage 5:
Paul De Keyser
Paul De Keyser (born 7 February 1957) is a former Belgian racing cyclist  He rode in the 1980 Tour de France 
Passage 6:
Catherine I of Russia
Catherine I Alekseevna Mikhailova (Russian: Екатери́на I Алексе́евна Миха́йлова, tr  Ekaterína I Alekséyevna Mikháylova; born Polish: Marta Helena Skowrońska, Russian: Ма́рта Самуи́ловна Скавро́нская, tr  Márta Samuílovna Skavrónskaya; 15 April [O S  5 April] 1684 – 17 May [O S  6 May] 1727) was the second wife and empress consort of Peter the Great, and empress regnant of Russia from 1725 until her death in 1727 

Life as a servant
The life of Catherine I was said by Voltaire to be nearly as extraordinary as that of Peter the Great himself  Only uncertain and contradictory information is available about her early life  Said to have been born on 15 April 1684 (o s  5 April), she was originally named Marta Helena Skowrońska  Marta was the daughter of Samuel Skowroński (later spelled Samuil Skavronsky), a Roman Catholic farmer from the eastern parts of the Polish–Lithuanian Commonwealth, born to Minsker parents  In 1680 he married Dorothea Hahn at Jakobstadt  Her mother is named in at least one source as Elizabeth Moritz, the daughter of a Baltic German woman and there is debate as to whether Moritz's father was a Swedish officer  It is likely that two stories were conflated, and Swedish sources suggest that the Elizabeth Moritz story is probably incorrect  Some biographies state that Marta's father was a gravedigger and handyman, while others speculate that he was a runaway landless serf



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 died earlier, Mayor Muthanna or The Market Of Souls?

The following are given passages.
Context 2:  Helen is assigned to his case and she nurses him back to his sight  Being ignorant of her identity, Temple asks Helen for her hand in marriage  When he regains his sight, he then denounces her  She is about to leave when Lyle Bane, who has been reported killed in France while in the American Expeditionary Forces, appears in a supernatural form and tells the truth about the incident in the apartment  Temple and Helen reconcile, and Lyle disappears, with it concluded that he did not return in the flesh but only as a spirit 

Cast
Dorothy Dalton as Helen Armes
Holmes Herbert as Temple Bane
Philo McCullough as Lyle Bane
Dorcas Mathews as Evelyn Howell
Donald McDonald as Herbert Howell
George Williams as Dr  Rodney Nevins

Preservation
A print of the film is held in the Gosfilmofond collection in Moscow 
Passage 7:
S  Siddalingaiah
Siddalingaiah (15 December 1936 – 12 March 2015) was an Indian film director, scriptwriter and producer who worked mainly in the Kannada films  He was well known for his distinct film-making style, and the industry knew him as a master of social themes and rural subject matter  He was one of the most commercially successful directors in the Kannada industry  He began his film career in 1964 as a director with Mayor Muthanna (1969)  In a career that spanned 30 years, he directed over 20 films His most well-known films usually starred matinee idol Rajkumar  They have collaborated 7 times  His most popular works include Bangaarada Manushya, Bhootayyana Maga Ayyu, Nyayave Devaru, Biligiriya Banadalli, Doorada Betta and Bhoolokadalli Yamaraja  In 1993, he was awarded the Puttanna Kanagal Award for his contribution to the Kannada film industry as a director 

Family and early life
Siddalingaiah joined the film industry as both a floor and a spot boy for Navajyothi studios  He became an assistant for director Shanker Singh and later worked as junior actor and assistant as the protégé of B  Vittalacharya 
Siddalingaiah's son Murali was an actor in Tamil films  Murali died on the morning of 8 September 2010 in Chennai due to a massive heart attack  His grandson Atharvaa started his acting career in Baana Kaathadi in 2010 

Career
Siddalingaiah directed Mayor Muthanna in 1969 starring Rajkumar, Bharathi and Dwarakish in his film debut  He cast the same lead pair in Baalu Belagithu, Namma Samsara, Thayi Devaru and Bangaarada Manushya 
After Bangaarda Manushya, he worked with other actors including Vishnuvardhan, Ananth Nag, Lokesh and Srinivasa Murthy  He introduced his son Murali in the 1983 romantic drama Prema Parva  He also directed a Tamil film Puthir in 1986 with Murali as the lead actor  His last film, Prema Prema Prema, was released in 1999 after which he retired from directing 

Death
Siddalingaiah died on 14 March 2015 in Bangalore where he had been hospitalized for treatment of H1N1 influenza 

Filmography
Passage 8:
Joseph De Grasse
Joseph Louis De Grasse (May 4, 1873 – May 25, 1940) was a Canadian film director  Born in Bathurst, New Brunswick, he was the elder brother of actor Sam De Grasse 

Biography
Joseph De Grasse had studied and was a first-class graduate of accounting and he began his career as a journalist, but soon became enamored with the theater and took work as a stage actor  In 1903, he quit his full-time job as the City of Boston's bookkeeper to pursue acting  In 1910, he acted in his first motion picture and although he would appear as an actor in 13 films, and write 2 screenplays, his real interest was in directing 
While working in Hollywood for Universal Pictures, De Grasse met and married one of the few female directors working at the time, Ida May Park (1879–1954)  In 1915, he became a founding member of the Motion Picture Directors Association, a forerunner to today's Directors Guild of America 
During his career he directed a total of 86 films  In 1924, actor Lon Chaney said of the De Grasses:

Joe and Sam De Grasses are two of the most talented personalities in today's film industry  Joe, a very skilled actor, is also the consummate director, firm in his demands yet gentle in his way of dealing with many different temperaments to be found in the movie industry  Sam is the only actor I know who can horrify an audience without make-up and without grotesque posturing and playing to the camera  He is the only actor I know who pulls teeth on the set in between takes  A rare pair, they have given the industry not one but two dimensions 
Joseph De Grasse died in Eagle Rock, California; he collapsed on a street while walking, and was taken to hospital where he was pronounced dead  The cause of his death was a heart attack 

Filmography
Director
Actor
The Place Beyond the Winds (1916) - Anton Farwell
Triumph (1917) - Man at Theatre (uncredited)
After the War (1918)
So Big (1924) - Simeon Peake
The Cowboy Kid (1928) - John Grover
The Drunkard (1935) - Mr  Miller
The Dawn Rider (1935) - Dad Mason
The Adventures of Frank Merriwell (1936, Serial) - Dr  Cummings (uncredited) (final film role)

Preservation
The three surviving reels of De Grasse's film Triumph were restored by the Academy Film Archive in 2012 

See also
Other Canadian pioneers in early Hollywood
Passage 9:
The Market of Vain Desire
The Market of Vain Desire a 1916 American silent drama film directed by Reginald Barker  It stars Henry B  Warner and Clara Williams Prints of the film still exist and are preserved at the Library of Congress and with a private collector  The Market of Desire is now in the public domain 

Cast
Henry B  Warner as John Armstrong
Clara Williams as Helen Badgley
Charles Miller as Count Bernard d'Montaigne
Gertrude Claire as Mrs  Bladglley
Leona Hutton as Belle
Passage 10:
The Ship of Souls (film)
The Ship of Souls or Ship of Souls is a 1925 American silent 3-D Western drama film, directed by Charles Miller  It was based on the Western novel The Ship of Souls by Emerson Hough, which was published after his death  It was produced by Max O  Miller, who created the 3-D process used in the film 

Plot
Langley Barnes (Bert Lytell) goes to the North Country after being abandoned by his wife  There he falls in love with Christine Garth (Lillian Rich), and even though he is not legally divorced, marries Christine  Captain Churchill (Cyril Chadwick) is posted to the area to build a radio transmitter, and after returning to the United States, marries Langley's wife, who has now obtained a divorce  After Churchill alerts Barnes with a radio transmission, Langley remarries Christine in a legal ceremony 

Cast
Preservation
With no prints of The Ship of Souls located in any film archives, it is a lost film 
Context 3: 
Marta's parents died of the plague around 1689, leaving five children  According to one of the popular versions, at the age of three Marta was taken by an aunt and sent to Marienburg (the present-day Alūksne in Latvia, near the border with Estonia and Russia) where she was raised by Johann Ernst Glück, a Lutheran pastor and educator who was the first to translate the Bible into Latvian  In his household she served as a lowly servant, likely either a scullery maid or washerwoman   No effort was made to teach her to read and write and she remained illiterate throughout her life 
Marta was considered a very beautiful young girl, and there are accounts that Frau Glück became fearful that she would become involved with her son  At the age of seventeen, she was married off to a Swedish dragoon, Johan Cruse or Johann Rabbe, with whom she remained for eight days in 1702, at which point the Swedish troops were withdrawn from Marienburg  When Russian forces captured the town, Pastor Glück offered to work as a translator, and Field Marshal Boris Sheremetev agreed to his proposal and took him to Moscow 
There are unsubstantiated stories that Marta worked briefly in the laundry of the victorious regiment, and also that she was presented in her undergarments to Brigadier General Rudolph Felix Bauer, later the Governor of Estonia, to be his mistress  She may have worked in the household of his superior, Sheremetev  It is not known whether she was his mistress, or household maid   She travelled back to the Russian court with Sheremetev's army Afterwards she became part of the household of Prince Alexander Menshikov, who was the best friend of Peter the Great of Russia  Anecdotal sources suggest that she was purchased by him  Whether the two of them were lovers is disputed, as Menshikov was already engaged to Darya Arsenyeva, his future wife  It is clear that Menshikov and Marta formed a lifetime alliance 
It is possible that Menshikov, who was quite jealous of Peter's attentions and knew his tastes, wanted to procure a mistress on whom he could rely  In any case, in 1703, while visiting Menshikov at his home, Peter met Marta  In 1704, she was well established in the Tsar's household as his mistress, and gave birth to a son, Peter  In 1703, she converted to Orthodoxy and took the new name Catherine Alexeyevna (Yekaterina Alexeyevna)  She and Darya Menshikova accompanied Peter and Menshikov on their military excursions 

Marriage and family life
Though no record exists, Catherine and Peter are described as having married secretly between 23 October and 1 December 1707 in Saint Petersburg  They had twelve children, two of whom survived into adulthood, Anna (born 1708) and Elizabeth (born 1709) 
Peter had moved the capital to St  Petersburg in 1703  While the city was being built he lived in a three-room log cabin with Catherine, where she did the cooking and caring for the children, and he tended a garden as though they were an ordinary couple  The relationship was the most successful of Peter's life and a great number of letters exist demonstrating the strong affection between Catherine and Peter  As a person she was very energetic, compassionate, charming, and always cheerful  She was able to calm Peter in his frequent rages and was often called in to do so 
Catherine went with Peter on his Pruth Campaign in 1711  There, she was said to have saved Peter and his Empire, as related by Voltaire in his book Peter the Great  Surrounded by overwhelming numbers of Turkish troops, Catherine suggested before surrendering, that her jewels and those of the other women be used in an effort to bribe the Ottoman grand vizier Baltacı Mehmet Pasha into allowing a retreat 
Mehmet allowed the retreat, whether motivated by the bribe or considerations of trade and diplomacy  In any case Peter credited Catherine and proceeded to marry her again (this time officially) at Saint Isaac's Cathedral in St  Petersburg on 9 February 1712   She was Peter's second wife; he had previously married and divorced Eudoxia Lopukhina, who had borne him the Tsarevich Alexis Petrovich  Upon their wedding, Catherine took on the style of her husband and became Tsarina  When Peter elevated the Russian Tsardom to Empire, Catherine became Empress  The Order of Saint Catherine was instituted by her husband on the occasion of their wedding 

Issue
Catherine and Peter had twelve children, all of whom died in childhood except Anna and Elizabeth:

Peter Petrovich (1704–1707), died in infancy
Paul Petrovich (October 1705–1707), died in infancy
Catherine Petrovna (7 February 1707–7 August 1708)
Grand Duchess Anna Petrovna (27 January 1708–15 May 1728)
Grand Duchess Elizabeth Petrovna (29 December 1709–5 January 1762)
Grand Duchess Mary Natalia Petrovna (20 March 1713–17 May 1715)
Grand Duchess Margaret Petrovna (19 September 1714–7 June 1715)
Grand Duke Peter Petrovich (9 November 1715–6 May 1719)

Grand Duke Paul Petrovich (13 January 1717–14 January 1717)
Grand Duchess Natalia Petrovna (31 August 1718–15 March 1725)
Grand Duke Peter Petrovich (7 October 1723–7 October 1723)
Grand Duke Paul Petrovich (1724–1724)

Siblings
Upon Peter's death, Catherine found her four siblings, Krystyna, Anna, Karol, and Fryderyk, gave them the newly created titles of Count and Countess, and brought them to Russia 

Krystyna Skowrońska, renamed Christina (Russian: Христина) Samuilovna Skavronskaya (1687–14 April 1729), had married Simon Heinrich (Russian: Симон Гейнрих) (1672–1728) and their descendants became the Counts Gendrikov 
Anna Skowrońska, renamed Anna Samuilovna Skavronskaya, had married one Michael-Joachim N and their descendants became the Counts Efimovsky 
Karol Skowroński, renamed Karel Samuilovich Skavronsky, was created a Count of the Russian Empire on 5 January 1727 and made a Chamberlain of the Imperial Court; he had married Maria Ivanovna, a Russian woman, by whom he had descendants who became extinct in the male line with the death of Count Paul Martinovich Skavronskyi (1757-1793), father of Princess Catherine Bagration 
Fryderyk Skowroński, renamed Feodor Samuilovich Skavronsky, was created a Count of the Russian Empire on 5 January 1727 and was married twice: to N, a Lithuanian woman, and to Ekaterina Rodionovna Saburova, without having children by either of them 

Reign as empress regnant
Catherine was crowned in 1724  The year before his death, Peter and Catherine had an estrangement over her support of Willem Mons, brother of Peter's former mistress Anna, and brother to one of the current ladies in waiting for Catherine, Matryona  He served as Catherine's secretary  Peter had fought his entire life to clear up corruption in Russia  Catherine had a great deal of influence over who could gain access to her husband  Willem Mons and his sister Matryona had begun selling their influence to those who wanted access to Catherine and, through her, to Peter  Apparently this had been overlooked by Catherine, who was fond of both  Peter found out and had Willem Mons executed and his sister Matryona exiled  He and Catherine did not speak for several months  Rumors flew that she and Mons had had an affair, but there is no evidence for this 
Peter died (28 January 1725 Old Style) without naming a successor  Catherine represented the interests of the "new men", commoners who had been brought to positions of great power by Peter based on competence  A change of government was likely to favor the entrenched aristocrats  For that reason during a meeting of a council to decide on a successor, a coup was arranged by Menshikov and others in which the guards regiments with whom Catherine was very popular proclaimed her the ruler of Russia  Supporting evidence was "produced" from Peter's secretary Makarov and the Bishop of Pskov, both "new men" with motivation to see Catherine take over  The real power, however, lay with Menshikov, Peter Tolstoy, and other members of the Supreme Privy Council 
Catherine viewed the deposed empress Eudoxia as a threat, so she secretly moved her to Shlisselburg Fortress near St  Petersburg to be put in a secret prison under strict custody as a state prisoner 

Death
Catherine I died two years after Peter I, on 17 May 1727 at age 43, in St  Petersburg, where she was buried at St  Peter and St  Paul Fortress  Tuberculosis, diagnosed as an abscess of the lungs, caused her early demise 
Before her death she recognized Peter II, the grandson of Peter I and Eudoxia, as her successor 

Assessment and legacy
Catherine was the first woman to rule Imperial Russia, opening the legal path for a century almost entirely dominated by women, including her daughter Elizabeth and granddaughter-in-law Catherine the Great, all of whom continued Peter the Great's policies in modernizing Russia   At the time of Peter's death the Russian Army, composed of 130,000 men and supplemented by another 100,000 Cossacks, was easily the largest in Europe   However, the expense of the military was proving ruinous to the Russian economy, consuming some 65% of the government's annual revenue   Since the nation was at peace, Catherine was determined to reduce military expenditure   For most of her reign, Catherine I was controlled by her advisers   However, on this single issue, the reduction of military expenses, Catherine was able to have her way   The resulting tax relief on the peasantry led to the reputation of Catherine I as a just and fair ruler The Supreme Privy Council concentrated power in the hands of one party, and thus was an executive innovation  In foreign affairs, Russia reluctantly joined the Austro-Spanish league to defend the interests of Catherine's son-in-law, the Duke of Holstein, against Great Britain 
Catherine gave her name to Catherinehof near St  Petersburg, and built the first bridges in the new capital  She was also the first royal owner of the Tsarskoye Selo estate, where the Catherine Palace still bears her name 
The city of Yekaterinburg is named after her, Yekaterina being the Russian form of her name 
She also gave her name to the Kadriorg Palace (German: Katharinental, meaning "Catherine's Valley"), its adjacent Kadriorg Park and the later Kadriorg neighbourhood of Tallinn, Estonia, which today houses the Presidential Palace of Estonia  The name of the neighbourhood is also used as a metonym for the institution of the President 
In general, Catherine's policies were reasonable and cautious   The story of her humble origins was considered by later generations of tsars to be a state secret 

See also
Bibliography of Russian history (1613–1917)
Rulers of Russia family tree

Notes
Passage 7:
Lyudmyla Olyanovska
Lyudmyla Olyanovska (Ukrainian: Людмила Оляновська; born 20 February 1993, in Kyiv) is a Ukrainian race walker 

Career
She won the bronze medal in the 20 kilometer racewalking event at the 2015 World Championships in Athletics in Beijing, China 
In 2014, she won the silver medal in the 20 kilometres racewalking event at the 2014 European Championships in Athletics 
In February 2017, she was disqualified for doping rules violation for four years since 30 November 2015 until 29 November 2019 

National records
She holds three national records in racewalking:
Passage 8:
Antoine Pescatore
Constantin-Joseph-Antoine Pescatore, known as Antoine Pescatore, was born on 16 December 1787 in Luxembourg City, and died on 31 October 1858 in Sandweiler  He was a businessman and politician 
From 1817 to 1820, he was mayor of the city of Luxembourg From 1842 to 1848 he was a member of the Assembly of Estates, and from 1854 to 1856 was a member of the Chamber of Deputies In 1845 he became a founding member of the Société pour la recherche et la conservation des monuments historiques dans le Grand-Duché de Luxembourg 
His daughter Marie Pescatore (1819-1894) married Paul de Scherff 
Passage 9:
Paul de Maleingreau
Paul Constant Eugène de Maleingreau (23 November 1887 - 9 January 1956) was a Belgian composer and organist 

Biography
Paul Constant Eugène Malengreau was born in  Trélon, Nord, France  He later changed his surname to "de Maleingreau"  From 1905 to 1912 he studied at the Brussels Conservatory where his principal teachers were Alfons Desmet, Paul Gilson and Edgar Tinel  He began teaching at the Conservatory in 1913 and was professor of organ (succeeding Desmet) from 1929 until 1953   His pupils included Pierre Froidebise, Charles Koenig, Robert Kohnen, Marcel Druart, Paul Sprimont and Herman Roelstraete 
In 1921 and 1922 he was the first to play Bach’s complete organ works in Brussels 
Gregorian plainsong forms the basis of most of Malengreau’s compositions, and indeed part of his output is intended for the liturgy  He also wrote programme music, his organ symphonies being inspired by paintings by Rogier van der Weyden and the van Eyck brothers  While the chromaticism and cyclic treatment of themes reveal the influence of Franck, certain harmonic progressions are typical of Impressionist music 
He was a member of the Libre Académie, and died in Brussels in 1956 

Selected works
Publication dates and publishers in parentheses where known 

Organ
Op  2  Élévation (1912, Hérelle)
Op  3 no  1 Post partum Virgo inviolata permansisti (Hérelle, Fortemps)
Op  3 no  2 Ego sum panis vivus (Hérelle, Fortemps)
Op  10 Opus sacrum: In nativitate Domini (1920, Chester)
Op  14 Suite (1919, Durand)
Op  18 nos 1 & 2 Offrande musicale (1920, Chester)
Op  18 no  3 Toccata (1920, Chester)
Op  19 Symphonie de Noël (1920, Chester)
Op  20 Symphonie de la Passion (1923, Senart)
Op  22 Opus sacrum II: In feriis Quadragesimae (1923, Senart)
Op  23 Triptyque pour la Noël (1923, Salabert)
Op  24 Symphonie de l’Agneau mystique (1926, Leduc)
Op  25 Préludes à l’introit pour orgue sans pédale (1924, Senart)
Op  26 no  4 Noël parisienne
Op  27 Élévations liturgiques (1935, Herelle-Philippo)
Op  30 Messe du jour de Noël (1938, Philippo)
Op  31 Messe de pâques (Hérelle-Philippo)
Op  35 Méditation pour le temps pascal: Quoniam ipsius est mare (1939, Hérelle)
Op  60 Préludes de carème (1952, Oxford)
Op  65 Suite mariale (1939, Oxford)
Op  71 Suite: Four paraphrases on hymns to the Virgin (1937, Oxford)
Op  103 Diptyque de la Toussaint (1952, Fischer)

Piano
Op  7 Prélude-Chorale et fugue (1920, Chester)
Op  8 No  1 Cygnes de neige sur des lacs de Lapis-Lazuli (F  Lauweryns)
Op  9 Suite pour piano (1920, Chester)
Op  12 Sonatine pour piano (1917, Lauweryns)
Op  17 Les angelus du printemps : suite pittoresque pour piano (1920, Chester)
Suite enfantine  (1934, Senart)

Chamber
Op  15 Sonate pour violoncelle et piano (1919, Durand)
Passage 10:
W  Augustus Barratt
W  Augustus Barratt (3 June 1873 – 12 April 1947) was a Scottish-born, later American, songwriter and musician 

Early life and songs
Walter Augustus Barratt was born 3 June 1873 in Kilmarnock, the son of composer John Barratt; the family later lived in Paisley  In 1893 he won a scholarship for composition to the Royal College of Music 
In his early twenties he contributed to The Scottish Students' Song Book, with three of his own song compositions and numerous arrangements 
By the end of 1897 he had published dozens of songs, such as Sir Patrick Spens, The Death of Cuthullin, an album of his own compositions, and arrangements of ten songs by Samuel Lover 
He then, living in London, turned his attention to staged musical comedy, co-creating, with Adrian Ross, The Tree Dumas Skiteers, a skit, based on Sydney Grundy's The Musketeers that starred Herbert Beerbohm Tree  He co-composed with Howard Talbot the successful Kitty Grey (1900) He continued to write songs and to receive recognition for them  The 1901 and 1902 BBC Promenade Concerts, "The Proms", included four of his compositions, namely Come back, sweet Love, The Mermaid, My Peggy and Private Donald 
His setting of My Ships, a poem by Ella Wheeler Wilcox, was performed by Clara Butt and republished several times  It also appeared four times, with different singers, in the 1913 and 1914 Proms 

America
In September 1904 he went to live in New York City, finding employment with shows on Broadway, including the following roles:

on-stage actor (Sir Benjamin Backbite) in Lady Teazle (1904-1905), a musical version of The School for Scandal;
musical director of The Little Michus (1907), also featuring songs by Barratt;
co-composer of Miss Pocahontas (1907), a musical comedy;
musical director of The Love Cure (1909–1910), a musical romance;
composer of The Girl and the Drummer (1910), a musical romance with book by George Broadhurst  Tried out in Chicago and elsewhere, it did not do well and never reached Broadway;
musical director of The Quaker Girl (1911–1912);
co-composer and musical director of My Best Girl (1912);
musical director of The Sunshine Girl (1913);
musical director of The Girl who Smiles (1915), a musical comedy;
musical director and contributor to music and lyrics of Her Soldier Boy (1916–1917);
composer, lyricist and musical director of Fancy Free (1918), with book by Dorothy Donnelly and Edgar Smith;
contributor of a song to The Passing Show of 1918;
composer and musical director of Little Simplicity (1918), with book and lyrics by Rida Johnson Young;
contributor of lyrics to The Melting of Molly (1918–1919), a musical comedy;
musical director of What's in a Name? (1920), a musical revue

1921 in London
Though domiciled in the US, he made several visits back to England  During an extended stay in 1921 he played a major part in the creation of two shows, both produced by Charles B  Cochran, namely

League of Notions, at the New Oxford Theatre, for which he composed the music and co-wrote, with John Murray Anderson, the lyrics;
Fun of the Fayre, at the London Pavilion, for which similarly he wrote the music and co-wrote the lyrics

Back to Broadway
Back in the US he returned to Broadway, working as
composer and lyricist of Jack and Jill (1923), a musical comedy;
musical director of The Silver Swan (1929), a musical romance

Radio plays
In later years he wrote plays and operettas mostly for radio, such as:

Snapshots: a radioperetta (1929)
Sushannah and the Brush Wielders: a play in 1 act (1929)
The Magic Voice: a radio series (1933)
Men of Action: a series of radio sketches (1933)
Say, Uncle: a radio series (1933)
Sealed Orders: a radio drama (1934)
Sergeant Gabriel (with Hugh Abercrombie) (1945)

Personal
In 1897 in London he married Lizzie May Stoner  They had one son  In 1904 he emigrated to the US and lived in New York City  His first marriage ended in divorce in 1915 and, in 1918, he married Ethel J Moore, who was American  In 1924, he became a naturalized American citizen  He died on 12 April 1947 in New York City 

Note on his first name
The book British Musical Biography by Brown & Stratton (1897) in its entry for John Barratt refers to "his son William Augustus Barratt" with details that make it clear that Walter Augustus Barratt is the same person and that a "William" Augustus Barratt is a mistake  For professional purposes up to about 1900 he appears to have written as "W  Augustus Barratt", and thereafter mostly as simply "Augustus Barratt" 



ground_truth: The Market Of Souls

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

Question: Who was born later, Paul De Scherff or Lyudmyla Olyanovska?

The following are given passages.
Context 4:  Louis Children's Museum, children's museum in  Missouri
The Magic House is a magical event in the television series Teletubbies about a puppet who walks around his pink house and sings from one of his windows 
Passage 10:
A Price Above Rubies
A Price Above Rubies is a 1998 British-American drama film written and directed by Boaz Yakin and starring Renée Zellweger  The story centers on a young woman who finds it difficult to conform to the restrictions imposed on her by her community  Reviews of the film itself were mixed, though there were generally positive reviews of Zellweger's performance 
The title derives from a Jewish Sabbath tradition  The acrostic Sabbath chant The Woman of Valor (eishet chayil) begins with the verse "    Who can find a woman of valor, her price is far above rubies     ," which in turn is excerpted from The Book of Proverbs  This chant traditionally is a prelude to the weekly toast (kiddush) which begins the Sabbath meal 

Plot summary
Sonia is  a young Brooklyn woman who has just given birth to her first child  She is married, through an arranged marriage, to Mendel, a devout Hasidic Jew who is too repressed and immersed in his studies to give his wife the attention she craves  He even condemns her for making sounds during sex and considers nudity with sex "indecent" 
Sonia is distressed and later, after a panic attack, she tries to kiss her sister-in-law Rachel  Rachel persuades her to talk to the Rebbe but Sonia cannot truly articulate what is upsetting her, instead resorting to a metaphor of a fire burning her up 
Sonia develops a relationship with Sender, who brings her into his jewellery business  Her husband forgets her birthday and Sonia says she longs for something beautiful in her life - even if it is a terrible beauty  Sender is the only release for Sonia's sexuality but she is repelled by his utter lack of morals  He is also abrupt and self-centred in his seductions, never waiting for Sonia to achieve orgasm 
Sonia sometimes sees and hears her brother  He appears as a child and judges her actions  On one occasion she buys a non-kosher egg roll whilst in Chinatown and her brother tells her off and an elderly street beggar-woman sees him and offers him candy  She comments on another woman's earrings and this leads Sonia to track down the maker of a ring she had discovered earlier that day 
The maker is Puerto Rican artist and jewellery designer Ramon, who works as a salesperson in the jewellery quarter but keeps his artistry a secret from everyone in the business 
Later Sonia's husband tells her she cannot continue to work  She is furious  Her husband insists they see a marriage counsellor (their rabbi) but the man decides Sonia is not being a good enough Jew  She says she is tired of being afraid and if she is so offensive to God then 'let him do what he wants to me ' The counsellor says we bring suffering upon ourselves but Sonia protests that her relatives who were murdered in the Holocaust and her brother who died when he was ten did not deserve their suffering  The counsellor says that 'we' do not question the ways of God but Sonia corrects this to 'you' and asserts that she will question whatever she wants to 
Sonia stops wearing her wig and starts wearing a headscarf instead  She introduces Ramon and some samples to a jewellery buyer who expresses an interest in his potential as a designer  They argue at Ramon's flat as she becomes bossy over his career, and he tries to get her to model (clothed) with a naked male model so he can complete a sculpture  She runs away 
Sonia's marriage breaks down irrevocably  Sonia is locked out of her apartment, and finds that her son has been given to Rachel  She is told she may live in a tiny apartment owned by Sender and kept for 'business purposes'  When she arrives, Sender is eating at a table and it is clear he has set her up as his mistress when she asks what the price is to stay: he says above that of emeralds but below the price of rubies  This is 'freedom'  Sonia hands him back the keys and leaves 
None of her friends will take her phone calls and Sonia is homeless  She meets the beggar-woman on the street and is taken to an empty studio and given food  The woman refers to an old legend (one her brother spoke of at the start of the film), to encourage Sonia  Meantime, Mendel takes back his son - for nights only  Rachel protests but he says he would appreciate her caring for his son during the day when he is studying 
Sonia now goes to Ramon's place and he lets her stay  She says he was right to be wary of her when they met as she has destroyed every good thing she had  But Ramon disagrees, removes her jewellery, and points out that her necklace is 'a chain'  (It is unclear if the necklace is of religious significance or if he means the need to have financial security through jewellery is a chain or restriction)  The two end up kissing 
Sonia dreams her brother returns from the lake to say he swam, and she - as her childhood self - says she swam too  When she wakes up in Ramon's bed there is a prominent crucifix on the wall  Sonia goes to speak to the widow of the Rebbe  The widow tells her that Sonia's words about being consumed by fire had awoken a fire in the Rebbe and for the first time in 20 years he had said 'I love you ' It is implied that they made love and the Rebbe had a heart attack  The widow is not unhappy with this outcome  She assists Sonia in reclaiming property from Sender's safe 
With Ramon's ring back in her keeping she returns it to Ramon  She doesn't want to stay as she does not feel she belongs  Ramon offers her time to think about what she wants 
Mendel arrives  Sonia asks after her son and then if Mendel misses her  He shakes his head  He asks the same of her and she shakes her head  They laugh  He apologises for forgetting her birthday but he knows that this was not all it was about  He gives her a ruby as token of his regret and invites her to visit their son 
Mendel leaves and Sonia says, 'God bless you' 

Cast
Renée Zellweger as Sonia Horowitz
Christopher Eccleston as Sender Horowitz
Julianna Margulies as Rachel
Allen Payne as Ramon Garcia
Glenn Fitzgerald as Mendel Horowitz
Shelton Dane as Yossi
Kim Hunter as Rebbetzin
John Randolph as Rebbe Moshe
Kathleen Chalfant as Beggar Woman
Peter Jacobson as Schmuel
Edie Falco as Feiga
Allen Swift as Mr  Fishbein

Production
It was shot in Brooklyn during 1997  Entertainment Weekly reported that a group of onlookers, upset over the film's depiction of Judaism, got in the way of shooting one day  The producers faced backlash for casting Zellweger, who did not follow Judaism, in the lead role  Director Boaz Yakin remarked, "Zellweger was the best actor for the part  She is an actor  The Jews that worked on this film knew less about the Hasidic lifestyle than Renee did after reading 10 books about it  So, being a Jew doesn't qualify you to act the part any more than any other thing  It was more important for each actor and actress to find the emotional light of their character and learn to wear it like a second skin "

Reception
Roger Ebert of Chicago Sun-Times gave the movie three stars  While impressed by Zellweger's "ferociously strong performance", he found the film did not teach us "much about her society", and that the Hasidic community could have been treated in greater depth  Charles Taylor of Salon likewise appreciated Zellweger's performance, while also finding the cultural aspect treated too superficially  He described Sonia's choices as "clichés left over from the Liberated Woman movies of 20 years ago", and the movie generally as "that old middle-of-the-road groaner about the good and bad in every race"  Maria Garcia of Film Journal International was more positively inclined to the movie, and called it a "beautifully wrought, skillfully rendered, and brilliantly acted film" 



ground_truth: Lyudmyla Olyanovska