{"input": "Are the movies Je Suis N\u00e9 D'Une Cigogne and La Chair De L'Orchid\u00e9e, from the same country?", "context": "Passage 1:\nPolly of the Movies\nPolly of the Movies is a 1927 American silent comedy film directed by Scott Pembroke and starring Jason Robards, Gertrude Short and Corliss Palmer. It is loosely based on Harry Leon Wilson's 1922 novel Merton of the Movies and its various film adaptations.\n\nSynopsis\nA small town girl goes to Hollywood with ambitions of becoming major dramatic star. However, the melodrama she appears in is unintentionally amusing and becomes a comedy hit.\n\nCast\nJason Robards as Angus Whitcomb\nGertrude Short as Polly Primrose\nCorliss Palmer as Lisa Smith\nStuart Holmes as Benjamin Wellington Fairmount\nJack Richardson as Rolland Harrison\nRose Dione as Lulu Fairmount\nMary Foy as Mrs. Beardsley\nPassage 2:\nThe Muppets Go to the Movies\nThe Muppets Go to the Movies is a one-hour television special starring Jim Henson's Muppets. It first aired May 20, 1981 on ABC as promotion for The Great Muppet Caper, which was released in the United States a month later.\n\nPlot\nWith the aid of Dudley Moore and Lily Tomlin, Kermit the Frog and the Muppets show spoofs of different movies at the Muppet Theatre.\n\nThe special opens with a 20th Century Frog logo. The Announcer (Jerry Nelson) provides an introduction over clips from the special.\nKermit comes onstage to introduce the show, informing the audience that the Muppets plan on paying tribute to some of their favorite movies.\nThe Muppet company perform \"Hey, a Movie!\" from The Great Muppet Caper.\nFozzie Bear introduces a spoof of The Three Musketeers. Statler and Waldorf attempt to leave, but are stopped by elastic ropes tied around their ankles. Gonzo the Great, Scooter and Link Hogthrob play Athos, Porthos and Gummo, out to defeat The Scarlet Pimpernel. Link flies on a chandelier, thus landing him backstage, and onto Miss Piggy, who reacts with her famous karate chop, thus sending him flying back onstage, and onto Kermit during an introduction for the next parody.\nThe sketch Invasion of the Unpleasant Things from Outer Space has Dudley Moore and Lily Tomlin facing giant alien rats. In addition to sci-fi films, the parody also pokes fun at international cinema. Moore speaks in a foreign language, accompanied by English subtitles.\nJanice introduces her favorite film The Wizard of Oz. She mentions that she likes the Land of Oz and might move there. When Janice is about to mention the part of Dorothy Gale, Piggy's voice is heard saying \"I'm not ready.\" Janice attempts to fill in, but Piggy arrives just in time. As the scene begins, Piggy (as Dorothy) and Foo-Foo (as Toto) start out in black and white. Piggy sings \"Somewhere Over the Rainbow\". When it changes to color, she is joined by Scooter as the Scarecrow, Gonzo as the Tin Man, and Fozzie Bear as the Cowardly Lion in a rendition of \"If I Only Had a Brain/a Heart/the Nerve\" and \"We're Off to See the Wizard\".\nGonzo introduces Metro-Goldwyn-Bear's The Fool of the Roman Empire. Moore portrays a jazz piano-playing Julius Caesar. Moore plays a melody on the piano, while Gonzo, Beauregard and Lew Zealand have a chariot race. Gonzo's chariot is pulled by a chicken, Beauregard's by rats, and Lew's by a shark.\nBackstage, Rizzo complains to Kermit about the previous sketch, claiming that it was an insult to rats. Rizzo and his rat buddies try to convince Kermit to put them in a glamorous rat production number. Kermit tells the rats that the Muppets have already done a similar production number in The Great Muppet Caper, showing a clip, featuring \"The First Time It Happens\".\nLily Tomlin attempts to flirt with Kermit, but Piggy interrupts them. Kermit suggests that Tomlin introduce the horror genre. Despite Tomlin's insistence that she's not a fan, she's attacked by a group of Muppet monsters. In J. Arthur Link's The Nephew of Frankenstein, Fozzie visits his uncle (played by Dr. Julius Strangepork) who is working on a comedian monster (played by Mulch). They attempt to do a \"Hot Cross Bunnies\" joke. The experiment blows Mulch up and burns the film screen. Firefighters are called, but joke that they are unable to put out a fire that was caused in the 19th Century as \"our hoses won't reach!\". The segment ends with Kermit parodying Porky Pig's \"That's all folks!\" line.\nRowlf the Dog presents a silent film featuring Kermit and Sopwith the Camel. Mulch drops in, finally getting the \"Hot Cross Bunnies\" joke.\nSam Eagle comes to translate a film by famed Swedish filmmaker Ingmar Bergman. Floyd Pepper informs Sam that the film isn't by Ingmar, but by his brother Gummo. The film Silent Strawberries parodies Bergman's filmography. It features The Swedish Chef, Beaker (as \"The Angel of Death\"), Fozzie and Kermit. As the film is not in English, Sam has to translate. Much to Sam's disgust, the translations make absolutely no sense. The film ends with a rendition of \"Hooray for Hollywood\". Waldorf claims he doesn't believe in \"The Angel of Death\", but is automatically frightened by someone over his shoulder (a popcorn girl).\nA spoof of Casablanca: Kermit bids his goodbyes to Piggy among the harsh wind of an airplane.\nBackstage, Floyd and Janice sing \"Act Naturally\".\nDudley Moore tells the audience about his love for artistic French films. He then explains that because of this fondness, he asked the Muppets not to parody them, but instead to do a \"tasteless tribute to the Western\". In Tantamount Picture's Small in the Saddle, a couple of cowboys, their horses, two outlaws, and the outlaws' cows sing \"Ragtime Cowboy Joe.\" Lew shows up paddling a boat. Much to Statler's shock, Waldorf has apparently turned into a cow.\nKermit introduces a spoof of Tarzan with Gonzo as Tarzan and Lily Tomlin as Jane.\nBackstage, Kermit tells Beauregard that it is time for his tribute to the Hollywood stuntman. A clip, featuring Beauregard driving Kermit, Fozzie and Gonzo in a taxi is shown.\nKermit introduces the next musical number: Piggy performs \"Heat Wave\" in the style of Marilyn Monroe and is backed up by a penguin chorus.\nBackstage, Kermit congratulates Piggy on her performance. Piggy wants everyone to see what a great performer Kermit is, by showing a Fred Astaire tribute that he did in The Great Muppet Caper, succeeded by a clip, featuring the song \"Steppin' Out with a Star\". Afterwards, Statler does his own \"tap dance\" routine.\nIn Goon with the Wind, Dudley Moore and Piggy portray Rhett and Scarlett as they watch a fire in the background. The sketch is interrupted by the firefighters from earlier on. Statler and Waldorf decide to give the sketch three big cheers. Three big chairs are thrown at the two.\nAn introduction by Lew Zealand leads into Cholesterol Pictures' A Frog Too Far, starring Kermit as a World War II air force pilot and Tomlin playing various love interests.\nThe full company performs \"We'll Meet Again\".During the credits, the Muppets leave the Muppet Theatre as Kermit secures the stage door, unaware that he has locked Dudley Moore and Lily Tomlin in.\n\nNotes\nThe same sets from The Muppet Show are used for this special.\nLater syndicated alongside The Muppet Show.\nThis is the first time a camera shot of the entrance to the Muppet Theatre is shown at the end of the special.\nTaped between March 9 and 17 of 1981.\n\nMuppet performers\nJim Henson as Kermit the Frog, Rowlf the Dog, Link Hogthrob, The Swedish Chef, Waldorf, and Gladiator Pig\nFrank Oz as Miss Piggy, Fozzie Bear, Animal, and Sam the Eagle\nJerry Nelson as Floyd Pepper, Lew Zealand, Mulch, Dr. Julius Strangepork, Pops, Announcer, Deputy, Gladiator Pig, Firefighter, and Rat\nRichard Hunt as Scooter, Janice, Beaker, Statler, Sheriff, Rat, and Cow\nDave Goelz as Gonzo the Great, Beauregard, Joe, Firefighter, Trumpet Blower, Rat, and Horse\nSteve Whitmire as Rizzo the Rat, The Scarlet Pimpernel, Jed, Firefighter, and Horse\nLouise Gold as Popcorn GirlAdditional Muppets performed by Kathryn Mullen, Brian Muehl, Bob Payne, and Rollie Krewson.\nPassage 3:\nLa Chair de l'orchid\u00e9e\nLa Chair de l'orchid\u00e9e (The Flesh of the Orchid) is a 1975 film by Patrice Ch\u00e9reau as his directorial debut, adapted by him and by Jean-Claude Carri\u00e8re from the 1948 book The Flesh of the Orchid by British writer James Hadley Chase, \"a pulp-novel sequel to No Orchids for Miss Blandish\" (1939). The film stars Charlotte Rampling, Simone Signoret, Bruno Cremer, Edwige Feuill\u00e8re and, in a cameo, Alida Valli.\n\nPlot\nClaire is locked up in an isolated building in the grounds of a psychiatric hospital, where the gardener comes in regularly to rape her. Obtaining a knife, she stabs his eyes out and flees. Getting a lift in a lorry, it crashes when the driver has his eyes stabbed out; Emerging from the wreckage, she is rescued by Louis who, with an unstable colleague Marcucci, is on his way to a business meeting in a hotel. While Louis is in the meeting, Marcucci tries to rape Claire and gets his eyes stabbed out. Claire flees and Marcucci, unable to defend himself, is then knifed to death by contract killers, the Berekian brothers.\nLouis rescues Claire and takes her back to his isolated house, where they spend the night making love. However the Berekians are waiting outside and, when the couple emerge, get a knife into Louis. Claire rescues him, leaving him in a safe place while she goes in search of a doctor. She is recognised by a nurse from the psychiatric hospital, who alerts her aunt who placed her there. In fact she is the heiress to a business empire, which her aunt controls so long as Claire is mentally unfit. Locked up by the nurse, Claire is found by the Berekians, who abduct her as a bargaining counter. The aunt finds the wounded Louis, who she locks up as a bargaining counter.\nThe Berekians lock Claire up in the care of Lady, a colleague from the days when all three were circus performers. Feeling sorry for the girl, Lady tells her that she is the result of her dead mother's affair with a circus artiste and lets her escape; As she waits for a train, she is told by an older woman that she is recognisably insane. She goes to her aunt's house, where Louis is a prisoner, and reunites with him. The accountant of the family firm tells her it is going downhill through the aunt's mismanagement and that, as the rightful owner, she should take charge.\nThe Berekians sneak in and manage to murder Louis, but Claire stabs out the eyes of one of them. The police arrive and, wounded in her struggle, Claire is taken to a hospital. Lady sneaks in to her with a bunch of flowers, but the two are found by the surviving Berekian. He kills Lady and, after a flashback to a moment of horror when he accidentally killed the woman he loved, commits suicide. With the two bodies on either side of her hospital bed, Claire gets on the phone to the accountant to start running her business.\nPassage 4:\nHighway Pickup\nChair de poule (French for \"goosebumps\") is a 1963 French crime film directed by Julien Duvivier and starring Robert Hossein, Catherine Rouvel, Jean Sorel and Georges Wilson. The screenplay is based on the 1960 novel Come Easy, Go Easy by James Hadley Chase, which took several plot elements from the 1934 novel The Postman Always Rings Twice by James M Cain. The film was released in the United States as Highway Pickup.\n\nPlot\nIn Paris, Daniel and Paul work installing safes by day and robbing them by night. When a raid goes wrong and a man is killed, Daniel is shot down by the police and jailed. He escapes and, heading south, is given a job and a room by Thomas, who runs an isolated caf\u00e9 and garage with his much younger wife Maria. She scorns the drifter her husband has hired until, by chance, she sees an old newspaper that reports his escape. She tells Daniel she will turn him in unless he opens the safe where Thomas keeps his cash.\nWhen Thomas is out one night, Daniel starts work; but Thomas returns early and after an argument Maria shoots him dead. Once Daniel has buried the body, the two try to run the place as before, except that they now share a bed. After Daniel rings Paris to tell Paul where he is, Paul joins them and Maria switches her attentions to him, thinking he will be easier to deal with if he opens the safe that Daniel refuses to touch again. Intruders then wound Daniel so that he is immobilised and, while Maria is out, Paul opens the safe. But she returns early and after an argument he shoots her dead. Leaving Daniel to his fate, he is making off with the money when he is caught at a police roadblock and shot dead.\n\nCast\nRobert Hossein as Daniel Boisset\nCatherine Rouvel as Maria\nJean Sorel as Paul Genest\nGeorges Wilson as Thomas\nLucien Raimbourg as Roux\nNicole Berger as Simone\nJacques Bertrand as Marc\nJean-Jacques Delbo as Joubert\nSophie Grimaldi as Starlet\nArmand Mestral as Corenne\nJean Lefebvre as Priest\nRobert Dalban as Brigadier\n\nExternal links\nHighway Pickup at IMDb\nHighway Pickup at AllMovie\nChair de poule at \u201cCinema-francais\u201c (French)\nPassage 5:\nWorks of Rachid Taha\n== Discography ==\n\nAlbums\nas part of Carte de S\u00e9jourSolo Studio AlbumsCompilation AlbumsOther Albums\n\nSingles\nas part of Carte de S\u00e9jourSolo\n\nVideography\nas part of Carte De S\u00e9jour1984: Bleu De Marseille\n1987: Douce FranceSolo1991: Barb\u00e8s\n1993: Voil\u00e0, Voil\u00e0\n1993: Indie\n1995: Non Non Non\n1995: Indie (1+1+1)\n1997: Ya Rayah\n1998: Ida\n1999: 1,2,3 Soleils\n2000: Hey Anta\n2001: Rachid Taha En Concert Live Paris\n2004: T\u00e9kitoi\n2004: Rock El Casbah\n2006: \u00c9coute-Moi Camarade\n2006: Agatha\n2007: Ma Parabole D'Honneur\n2009: Bonjour\n2012: Voil\u00e0, Voil\u00e0\n2013: Now or Never (feat. Jeanne Added)\n2019: Je suis africain\nPassage 6:\nOur Agent Tiger\nLe tigre se parfume \u00e0 la dynamite (Our Agent Tiger) is a 1965 secret agent spy film directed by Claude Chabrol and starring and written by Roger Hanin as the Tiger. It is a sequel to the 1964 film Le Tigre aime la chair fraiche.\n\nPlot\nThe Tiger is sent to oversee the excavation of a sunken ship. While busy retrieving the gold treasure inside the vessel, The Tiger is constantly thwarted by international enemies. Among them is an old Nazi named Hans von Wunchendorf who dreams of world domination. He hides behind the codename \"The Orchid\" and needs the treasure to sustain a worldwide network of exiled former comrades. Once sanified by the gold his organisation plans to realise the endsieg after all.\n\nCast\nRoger Hanin as Louis Rapi\u00e8re, \"le Tigre\"\nMargaret Lee as Pamela Mitchum / Patricia Johnson\nMichel Bouquet as Jacques Vermorel\nMicaela Pignatelli as Sarita Sanchez\nCarlos Casaravilla as Ricardo Sanchez\nJos\u00e9 Nieto as Pepe Nieto\nJos\u00e9 Mar\u00eda Caffarel as Colonel Pontarlier\nGeorge Rigaud as Commander Damerec\n\nBibliography\nBlake, Matt; Deal, David (2004). The Eurospy Guide. Baltimore: Luminary Press. ISBN 1-887664-52-1.\nPassage 7:\nJe suis timide mais je me soigne\nJe suis timide mais je me soigne is a French comedy film directed by Pierre Richard released in 1978.\n\nPlot\nPierre Renaud, receptionist in a big hotel, suffers from a crippling shyness. When he falls in love with Agn\u00e8s, winner of a contest, he decides to overcome his shyness and follows Agn\u00e8s during all her trip.\n\nCast\nPierre Richard as Pierre Renaud\nAldo Maccione as Aldo Ferrari\nMimi Coutelier as Agn\u00e8s\nJacques Fran\u00e7ois as Monsieur Henri\nCatherine Lachens as the female truck driver\nRobert Dalban as the garagist\nJacques Fabbri as the truck driver\nRobert Castel as Trinita\nJean-Claude Massoulier as Gilles\nFrancis Lax as the wine waiter\nH\u00e9l\u00e8ne Manesse as Ir\u00e8ne\n\nAdditional information\nThe film was a commercial success, Pierre Richard reformed his collaboration with Aldo Maccione the next year in the film C'est pas moi, c'est lui.\nThe film took place in Vichy in the department of Allier, in Nice on the Promenade des Anglais and at the Hotel Negresco, and at Deauville during winter.\n\nExternal links\nJe suis timide mais je me soigne at IMDb\nPassage 8:\nJe suis un sentimental\nJe suis un sentimental is a 1955 French crime film directed by John Berry.\n\nPlot\nBarney Morgan is a reporter who works for a French journal. His editor-in-chief Rupert finds his lover Alice murdered. His boss is the main suspect but Barney doesn't believe his boss could possibly be a murderer. Subsequently he tries to prove the man's innocence.\nBarney suspects Alice's husband and gathers enough circumstantial evidence to make his point. But the widower's lawyer can prove he didn't do it neither. Barney concedes he was wrong and commences a new investigation.\nDigging deeper he discovers something about the journal's publisher and especially about the publisher's son Oliver. While finding the real killer and proving his guilt Barney wins the heart of beautiful Marianne.\n\nCast\nEddie Constantine as Barney Morgan\nBella Darvi as Marianne Colas\nOlivier Hussenot as Michel G\u00e9rard\nWalter Chiari as D\u00e9d\u00e9 la Couleuvre\nRobert Lombard as Olivier de Villeterre\nAndr\u00e9 Versini as Armand Sylvestre, the comedian\nAlbert R\u00e9my as Ledoux\nPaul Frankeur  as  Jacques Rupert\nAim\u00e9 Clariond  as Madame de Villeterre\nCosetta Greco as  Alice G\u00e9rard\nAlbert Dinan  as  Henri\nRen\u00e9 Hell  as  Raymond\nCharles Bouillaud  as Policeman\nPaul Aza\u00efs  as  Inspector\nJackie Sardou as The concierge\nPassage 9:\nJe suis n\u00e9 d'une cigogne\nJe suis n\u00e9 d'une cigogne (English: Children of the Stork) is a 1999 French road movie directed by Tony Gatlif, starring Romain Duris, Rona Hartner, Ouassini Embarek, Christine Pignet and Marc Nouyrigat. Following its French release, it received mixed reviews but was nominated for a Golden Bayard at the International Festival of Francophone Film in Namur, Belgium.The film deals with themes like social exclusion and illegal immigration, along with references to the Romani, as in the other films by the director. Gatlif has also employed the French director Jean-Luc Godard's New Wave techniques in this film.\n\nPlot\nTwo French pals, one an unemployed young man named Otto (Romain Duris) living with his mother in state housing, and the other his girlfriend Louna (Rona Hartner), who is a hairdresser and has the bailiffs after her, reflect on the lack of meaning in their lives, their society and the system. In a spirit of rebellion against everything, they hit the road and what follows is an anarchic adventure. A teenage Arab immigrant named Ali (Ouassini Embarek) enters the story. Ali's family tries to hide its ethnic origins by going to extreme measures in switching to French customs.The trio start wreaking havoc, robbing shops and stealing cars. On their way, they come across an injured stork with a broken wing. The stork speaks to them and says that it is an Algerian refugee, on its way to Germany to reunite with its family. The trio adopt the stork as their father, name it Mohammed, and forge a passport to enable the stork to cross the French\u2013German border.\n\nCasting and characterisation\nThe film's four main characters represent the \"most vulnerable sections\" of society, in tune with Gatlif's earlier films portraying \"social outcasts and racial minorities\".  Otto represents the section of unemployed youth who are neither rich nor qualified, with no hopes for a job in the future. Louna represents the underpaid who are exploited by their employers. The above characters are played by the same duo, Romain Duris and Rona Hartner, who played the leading roles in Gatlif's previous film, Gadjo dilo.  The third character, the Arab immigrant, Ali (played by Ouassini Embarek), is going through an identity crisis and has run away from his family, who are trying to distance themselves from their ethnic origins by, for example, adopting French names. Ali is shown to be interested in current affairs and is also shown reading Karl Marx. The other character, the stork, represents illegal immigrants.The film encountered production problems due to a quarrel between Rona Hartner and Gatlif which led to her walking out midway. This resulted in her abrupt disappearance from the plot in the middle until they patched up much later.\n\nThemes and analysis\nThe film adopts the \"New Wave\" technique of early films by Godard, to explore themes of border crossings and social alienation.\n\nGatlif's take on the New Wave\nThe reviewer in Film de France remarked that with its themes like absurdity and nonconformity, making use of characters like a speaking stork,  and also its filming techniques like jump cuts and multiple exposures, the film feels like \"a blatant homage to the works of Jean-Luc Godard\", and the plot \"looks like a crazy m\u00e9lange of Godard's \u00c0 bout de souffle, Pierrot le Fou and Weekend\". In the reviewer's opinion, Gatlif has overdone these techniques, leading to the film's ending up \"far more substantial and worthy than a shameless appropriation of another director's technique\". ACiD remarked that with his boldness and unconventional style, Gatlif has started a new New Wave trend, which would serve as a notice for both amateur filmmakers and professional film-makers. Chronic'art remarked that the film can be placed between the worse and the better among the works inspired by Godard. Though the filming techniques are similar to Godard's, the film falls short in its dealing with the unconventional themes, avoiding providing solutions, and rather ending up being a mere \"passive acquiescence\" reflecting on the works of revolutionaries of the era, which is far from rising up to revolt as one would expect in a Godard movie. Time Out London was also critical of Gatlif's attempts at Godard, calling it \"offbeam\".\n\nSatirical elements\nThe film is packed with a number of references to \"social issues and political theory\", especially on the border crossings. Yet a reviewer for Films de France found it to be not so \"heavy\", thanks to the unintentional flaws in the techniques used. He observed that the film treats them using \"black comedy and surrealism\". The stork character is a \"metaphorical stand-in\" for the illegal immigrant, he added. \"While birds can cross international borders at ease, human beings generally cannot\": Tony Gatlif deals with this lesser freedom that human beings possess with his \"well intended irony\", using the stork. On forging the passports for the stork and the need for 'papers' while crossing borders, Gatlif said mockingly in an interview that \"in France there are 1.5 million birds and 1.5 million foreigners. The difference is that the bird is free, because he has no ID. He flies to Africa, to the wealthy countries and to developing countries. It makes no difference to him. He is an alien everywhere\". ACiD called this \"poetic\" while Time Out London found it \"woolly and unilluminating\". The word cigogne is pronounced very similarly to tsigane which is one of the words used for Romani people. There are also a number of \"in-jokes and references to French cinema\" which a viewer might miss in the first viewing, observed Films de France, citing scenes such as one which is a parody on an awards ceremony and one of an austere reviewer \"rubber stamping films with trite stock phrases\". Chronic'art found these scenes heavy because of the limitations of a work in which the director \"at his pleasure distills his personal tastes\".\n\nPolitical alienation\nThe film's references to revolutionaries like Karl Marx, Che Guevara and Guy Debord coupled with Godard's techniques give it a 1970s feel, observed a reviewer for T\u00e9l\u00e9rama. Though it re-lives the avant-garde of the past, it is a bit retro for the current times, which bores its viewers, he added. Les Inrockuptibles also found the theme \"dated\", adding that it could very well have been a documentary by some non-profit organisation like GISTI. Chronic'art remarked that mere quoting of Marx or Che Guevera would not make the film, with its rather common theme of socially disillusioned, unemployed youth in revolt, achieve anything. It also called the depictions of idiotic CRS personnel and militant NF activists clich\u00e9d.\n\nRelease\nThe film was screened at the 1999 Festival International du Film Francophone de Namur, in Belgium, competing against films from Qu\u00e9bec, France, Vietnam, Belgium, S\u00e9n\u00e9gal and Egypt for the Golden Bayard award in the Best Film category, which was won by Christine Carri\u00e8re's Nur der Mond schaut zu. The film received rave reviews for its rare courage in presenting disconcerting themes such as unemployment and illegal immigration. In 2000, it was screened at the International Film Festival Rotterdam in the official section and received praise for its unconventional elements, such as the talking stork.The Festival Internacional de Cine de R\u00edo de Janeiro screened the film in the non-competitive Panorama du cin\u00e9ma mondial section, along with 27 other films from around the world.\nIn 2008, the film was screened at L'Alternativa, Festival de Cine Independiente de Barcelona in the parallels section, La pasi\u00f3n gitana, along with a selection of other films directed by Tony Gatlif with Romani themes.\n\nReception\nCritical reception\nTime Out London called it \"far more fanciful and pretentitious\" than Gatlif's earlier films and also regarded Gatlif's treatment of Godard as a failure. ACiD gave it a positive review, lauding Gatlif's bold depiction of absurdity. Romain Duris and Rona Hartner's performance was described as \"beautiful\" and as complemented by Ouassini Embarek's, which was described as \"brilliant\". In summary, the reviewer suggested the film be called \"The Good, the Bad and the Ugly\", citing the mixed topics dealt with, and added that it takes the viewers \"beyond the real, beyond the borders and everything one can imagine\".A review by James Travers forFilms de France called it the \"most unconventional\" of all road movies, with its \"insanely anarchic portrait of adolescent rebellion\", adding that it is an \"ingenious parable of social exclusion and immigration in an uncaring society\". Travers also wrote that the film's editing and narrative techniques turn into a plus, making it \"refreshingly fresh and original\", adding that the \"patchwork narrative style\" suits the rebellious nature of the characters very well. Owing to the unconventionality of the film, Louna's disappearance from the plot in the middle does not look very obvious, he added. Les Inrockuptibles called it a \"tragicomic fable on the notions of borders and free movement of people\" and added that the film's use of comedy and disjunctive narrative style is only partially successful. Though not conventionally beautiful, the  film impresses the viewers with its \"energy, boldness and humor in places when it doesn't leave them stranded\", the reviewer concluded.\nPassage 10:\nM\u00f3nika Juh\u00e1sz Miczura\nM\u00f3nika Juh\u00e1sz Miczura is a Hungarian Roma singer, also known as Mitsou and Mitsoura. She is a former member of the folk ensemble Ando Drom, and a founding member of the electronic/world music group Mitsoura. She has contributed to film soundtracks; in Tony Gatlif's film Gadjo dilo (1997) she provided the voice of an unseen singer pivotal to the story. She has also sung in the films K\u00eds\u00e9rt\u00e9sek (2002), Swing (2002), Vengo (2000) (uncredited), and Je suis n\u00e9 d'une cigogne (1999). She formed the ensemble Mitsoura that released two albums so far:  Mitsoura (2003) and Dura Dura Dura (2008). She has been a guest artist on the albums of other groups, including Fanfare Cioc\u0103rlia's Queens and Kings (2007), Bratsch's Rien Dans Les Poches (2000), Besh O Drom's Once I Catch the Devil (2006), GYI! (2005) and Can't Make Me! - Nekemtenemmutogatol (2003). She is a member of the \"Global Vocal Meeting\" project.\n\nEarly life\nM\u00f3nika Miczura was born in Beretty\u00f3\u00fajfalu, Hungary on 3 November 1972. She has four sisters. Very early, at the age of 5 she lost her father. She spent her childhood in B\u00e9k\u00e9scsaba. The traditional romani-culture had been part of her daily life, at special family occasions (funerals, mournings, pomanas), there was a long tradition of a cappella (without instruments) singing. That is where her exceptional, deep style of performance stood out by the community, however at that time she had no idea what performance arts was about. Her first appearance on stage was at the age of 13 in the J\u00f3kai M\u00f3r theatre in B\u00e9k\u00e9scsaba where she was cast to perform in the musical \u2018Twist Oliver\u2019. During these days, she discovered the world of  Indian, Arabic, Persian and Chinese music in the music collection of the local library, which had a huge impact on her. For the recommendation of her teachers, she applied and was admitted to the famous Literature-Drama course at Horv\u00e1th Mih\u00e1ly Grammar School in Szentes. That is where she first performed traditional Romani songs on stage, what she only did in small, family circles before. Those days the Romani folk-traditions were not part of the official Hungarian Folk Music, therefore it was a completely new experience for most non-Romani audience. In the 80\u2019s, the first cultural Romani clubs, camps were organized where M\u00f3nika was a regular attendant. They soon discovered her unique, characteristic performing talent, as a result she was invited to be the singer of the Romani-folk band called \u2018Ando Drom\u2019 at the age of 17. After a year of membership, a 3-year break came because she gave birth to her first daughter, M\u00f3nika. In 1994, she went back to stage and the \u2018Ando Drom\u2019, which then became an internationally acknowledged worldwide band.\n\nAndoDrom, Mitsoura and collaborations\nThe \u2018AndoDrom\u2019 band travelled the world and was a regular participant in the most important international folk-festivals. 3 albums were made at that time: Kaj Phirel O Del (1995) Gypsy Life On The Road (1997) and Phari Mamo (1997). As a result, others discovered M\u00f3nika\u2019s unusual, unique voice. She was cast for several international movies, theatres and plenty of other music productions asked her for collaboration. That is when she first experienced that her voice and the culture she represents have the \u2018raison d'etre\u2019 (the most important reason or purpose for someone or something's existence) when it is grabbed out of its traditionalist comfort-zone and is mixing with the culture of other countries, origins, and the impacts of present age \u2018trends\u2019.\nThe mid-1990s pop-music culture has also most influenced her e.g. Bj\u00f6rk, Massive Attack or Portishead. That is when she first had the idea of starting her own band, that could mix all these artistic influences. In 2000, she quit AndoDrom and she looked for new musicians from the most varied musical backgrounds and genres (Etno, Jazz, Classical and ElectronicMusic). That is how Mitsoura was born. M\u00f3nika Miczura says: \"My artistic creed, my Ars Poetica is that 'Everything alters me, but nothing changes me.' (Salvador Dal\u00ed) and also that 'the mixing of cultures is a useful thing' (B\u00e9la Bart\u00f3k) that is why I am not afraid to mix clean traditions with even contemporary, urban culture, because this is not the dilution of traditions but rather a way to make them alive. In my view, traditions are not museum-wise understood, dusty imprints of a bygone era, but rather possibilities for existing and current forms of expression.\" The band Mitsoura had released two albums in this spirit: Mitsoura (2003) and DuraDuraDura (2008). They had performed in significant international festivals and concert-theatres (WOMAD, WOMEX, Royal Opera House London, Grand Th\u00e9\u00e2tre de Bordeaux, Fete de la Misique Paris etc.). 2011 was their last time on stage, but after 3 years of creative pause, the Mitsoura is working on a new album-material.\nOn December 16, 2014, it was reported that Miczura has filed a civil suit in Manhattan supreme court, naming Beyonc\u00e9, Jay Z and Timbaland as co-defendants in a copyright infringement suit. Her lawyers allege that a recurring section of the song Drunk in Love is a digitally manipulated excerpt from the 1995 track Bajba, Bajba Pel\u00e9m.\n\nDiscography\nAndoDrom - Kaj Phirel O Del - 1995.\nChico And The Gipsyes - Vagabundo - 1996.\nL\u00e1szl\u00f3 D\u00e9s / P\u00e9ter Geszti - A Dzsungel K\u00f6nyve - musical - 1996. (BMG)\nAndoDrom - Gypsy Life On The Road - 1997. (north pacific music)\nAndoDrom - Phari Mamo - 1997. (network)\nGadjoDilo - Original Soundtrack - 1997.\nBratsch - Rien Dans Les Poches - 1998. (network)\nGypsy Queens - Compilation - 1999. (network)\nL\u00e1szl\u00f3 D\u00e9s - Akasztottak - 1999.\nVengo - Original Soundtrack - 2000.\nGlobal Vocal Meeting - 2000.\nSwing - Original Soundtrack - 2001.\nBesh o Drom - Nekemtenemmutogatol - 2002.\nMitsoura - Mitsoura - 2003.\nBesh o Drom - Gy\u00ed - 2004.\nBesh o Drom - Ha megfogom az \u00f6rd\u00f6g\u00f6t - 2005.\nFanfare Ciocarlia - The Gypsy Queens And Kings - 2007. (asphalt tango)\nMitsoura - DuraDuraDura - 2008.\nHans-Erik Philip - And Other Dreams - 2012.\n\nFilmography\nMedd\u0151 (dir. Tam\u00e1s Alm\u00e1si) - 1995.\n\u00c9rz\u00e9kek Iskol\u00e1ja (dir. Andr\u00e1s S\u00f3lyom) - 1996.\nGadjo Dilo (dir. Tony Gatlif) - 1997.\nTusindfryd (dir. Vibeke Gad) - 1998.\nJe suis n\u00e9 d'une cigogne (dir. Tony Gatlif) - 1999.\nAkasztottak (dir. P\u00e9ter Goth\u00e1r) - 1999.\nVengo (dir. Tony Gatlif) - 2000.\nSwing (dir. Tony Gatlif) - 2001.\nK\u00eds\u00e9rt\u00e9sek (dir. Zolt\u00e1n Kamondi) - 2002.\nZafir (dir. Malene Vilstrup) - 2003.\nKelj fel \u00e9s j\u00e1rj! (dir. Zsolt Balogh) - 2007.\nA H\u00f3p\u00e1rduc talpra \u00e1ll (dir. Andr\u00e1s Kollmann) - 2011.\nTwo Shadows (dir. Greg Cahill) - 2012.\n\nTheatre productions\nA Dzsungel k\u00f6nyve - musical (dir. Heged\u0171s D. G\u00e9za) - 1996.\nThe Black Eyed Roses - musical (dir. Alan Lyddiard) - 2003.", "answers": ["yes"], "length": 5552, "dataset": "2wikimqa_e", "language": "en", "all_classes": null, "_id": "f212a163fb7a09cc359579e6556fa9673926760ed4c9adc6"}/n
“input”: This is the question to be answered.
“context”: This is the information needed to answer the question.
“answer”: This is the correct answer(ground truth) to the question.

Task Instructions:
(1) Generate a full and concise reasoning path from the "input" question to the ground truth "answer", using sentences from the "context" to support each step.
(2) For each step in the reasoning path, include one unaltered sentence from the “context” to demonstrate how the information leads to the answer.
(3) Structure the response as a JSON object. Each reasoning step should correspond to one original sentence from the “context”.

Use JSON format with 'step' and 'sentence' for your output.
{
  "reasoning": [
    {
      "step": 1,
      "sentence": "<insert first sentence used from context>"
    },
    {
      "step": 2,
      "sentence": "<insert second sentence used from context>"
    },
    ...
  ]
}
Ensure each “sentence” is copied exactly as in the context without any modifications.