{"input": "Which film has the director born earlier, Pieces Of A Woman or Oriental Nights?", "context": "Passage 1:\nPieces of a Woman\nPieces of a Woman is a 2020 drama film directed by Korn\u00e9l Mundrucz\u00f3, from a screenplay by Kata W\u00e9ber. The film stars Vanessa Kirby, Shia LaBeouf, Molly Parker, Sarah Snook, Iliza Shlesinger, Benny Safdie, Jimmie Fails, and Ellen Burstyn as the family and associates of Martha (Kirby) involved in her traumatic childbirth, baby loss, and a subsequent court case against the midwife, Eva (Parker), whom Martha's mother Elizabeth (Burstyn) blames for the baby's death. Martin Scorsese and Sam Levinson served as executive producers, and the film was scored by Howard Shore.\nAn international co-production of the United States and Canada, the film is partly based on Mundrucz\u00f3 and W\u00e9ber's stage play of the same name and explores themes of grief and loss. It premiered on September 4, 2020, at the 77th Venice International Film Festival, where Kirby won the Volpi Cup for Best Actress. It was released in select theaters on December 30, 2020, before beginning to digitally stream on Netflix on January 7, 2021, and became noted for its long take childbirth scene at the start of the film.\nThe film received generally positive reviews, with praise for the actors, particularly Kirby, though elements of the plot were criticized. For her performance, Kirby received Academy Award, BAFTA, SAG, Critics' Choice, and Golden Globe nominations.\n\nPlot\nMartha and Sean, a young Boston couple, are expecting their first child. Sean resents Martha's mother Elizabeth, a wealthy Holocaust survivor, who is buying them a minivan.\nMartha goes into labor at their home and Sean calls their midwife Barbara, who is unavailable and sends another midwife named Eva in her place. Martha struggles with nausea and pain during contractions and, when she reaches ten centimeters, Eva realizes the baby's heart rate has dropped dangerously low. Sean asks Eva if they are safe to continue and Eva tells Sean to call an ambulance. Martha soon gives birth to a baby girl who at first seems healthy. Eva then notices the baby is turning blue and attempts to revive her, but she goes into cardiac arrest and dies.\nThe following month, Martha and Sean attend an appointment with a coroner; Sean is eager to find out what went wrong, while Martha is reluctant. They learn the cause of death has not yet been established but are told they were able to determine that the baby was in a low-oxygen environment and start proceedings against Eva. Sean leaves, overcome with emotion, while Martha remains and decides that she wants to donate the baby's body to science.\nThe relationship between Martha and Sean continues to be strained, as is Martha's relationship with her mother, who wants to bury the baby and have a funeral. Both Martha and Sean remain deeply depressed. Sean returns the car that Elizabeth bought for them. He later has sex with Martha's cousin, Suzanne, and uses cocaine after being sober for almost seven years. Suzanne, who is also the attorney prosecuting Eva, informs him that a potential lawsuit against Eva could be very lucrative.\nAt a tense family gathering at her home, Elizabeth tells Martha that she has to attend Eva's trial and blames Martha for her baby's death because she decided to have a home birth. Elizabeth then tells Sean that she never liked him before offering him a check for a large sum of money to leave and never return. Martha drops Sean off at Logan International Airport and he leaves for Seattle.\nMonths later, Martha testifies at Eva's trial. After her testimony, the judge allows her to address the court, and she states that Eva is not at fault for the death and that she does not blame her. Back home, she discovers that the apple seeds she stored in her refrigerator have started to sprout. A month later, Martha scatters her daughter's ashes into the river from the bridge that Sean helped to build.\nYears later, a little girl climbs an apple tree, picks an apple, and eats it. Martha calls her name, Lucianna, then helps her down. The two go inside together.\n\nCast\nProduction\nPlay\nThe play Pieces of a Woman was created by Korn\u00e9l Mundrucz\u00f3 and Kata W\u00e9ber, a couple who experienced miscarriage during pregnancy. The couple did not initially talk about their experience or process their grief, but Mundrucz\u00f3 read a scene written in W\u00e9ber's notebook depicting a woman and her mother debate child loss and felt that it needed exploration. W\u00e9ber, who had already titled the scene \"Pieces of a Woman\", became the playwright after Mundrucz\u00f3 encouraged her to make a \"family drama\" from the scene; the play was originally performed at TR Warszawa in Warsaw, Poland. Following (Polish) Maja, her senile mother, and her Norwegian husband, the play contained two scenes: the childbirth and a family dinner in the aftermath. For BroadwayWorld, Filip Piotrowicz wrote that the scenes being performed in real time with real props (including a working oven and food being cooked inside) felt both like a film and classic theatrical form. The birth scene was multimedia, with the performance being recorded by a camera freely roaming the stage and live-streamed on screens in the theater, and other screens showing ultrasound scans of the fetus.\n\nDevelopment and themes\nThe film Pieces of a Woman was announced to be in production in October 2019, with Mundrucz\u00f3 directing from a screenplay by W\u00e9ber. It is based on their play, and also incorporates fictionalized aspects of the trial of Hungarian midwife \u00c1gnes Ger\u00e9b. W\u00e9ber consulted with psychiatrists and other women who had lost babies while writing the film. In developing the play for the screen, Mundrucz\u00f3 chose to set it in Boston, thinking the city's historic Irish Catholic culture was a good translation of the conservative Polish society of the original. It is his first film in the English language. W\u00e9ber submitted the script to the Hungarian National Film Fund but did not get support; Aaron Ryder read the script and showed it to producers Ashley Levinson and Kevin Turen, who took it on. Sam Levinson and Martin Scorsese, among others, served as executive producers on the film; Scorsese, who was shown the film by composer Howard Shore prior to its release, boarded after the film was complete, hoping to help its distribution as Mundrucz\u00f3 and W\u00e9ber were unknown filmmakers. Supporting actress Ellen Burstyn, who was directed by Scorsese in Alice Doesn't Live Here Anymore, said that he \"picked up on things [about Pieces of a Woman] that [she] never heard anybody else pick up on. And he has such an appreciation of the art of moviemaking that you feel seen.\"The film explores themes of trauma, which Dr. Lipi Roy writing for Forbes found relevant during the COVID-19 pandemic when it was released; Mundrucz\u00f3 and lead actress Vanessa Kirby both also commented that the loss in the film can speak to people who have been bereaved in the pandemic, and W\u00e9ber spoke of the relevance of the isolation and inability to talk about feelings that Martha experiences. Kirby has described the film as \"almost a character study on grief\" that also explores intergenerational trauma. In the film, Martha's family are all physically present but not emotionally available to her, and they each find different ways to process their loss, according to Roy. Midwives speaking with NOW also noted that films exploring grief often do so by presenting it as a bonding experience, while Pieces of a Woman focused on the differences. Renaldo Matadeen of CBR compared the film's exploration of grief to that of Marriage Story, though he felt that Pieces of a Woman did not explore the shared grief Martha and Sean experience. Also for NOW, Kevin Ritchie noted that the film shifts focus on themes throughout, featuring class tensions at the start and, at the end, focusing on generational divides and present baggage of Holocaust survival. The New Yorker's Anthony Lane wrote that the film \"amounts to a set of variations on the theme of winter\", reflected in its little-changing Boston setting; similarly, Lee Marshall of Screen International opined that the wintry setting and its \"oppressive\" Gothic Revival architecture helped to inform the themes of the film.\n\nCasting\nThe first person to be cast was Shia LaBeouf as Sean. He was followed shortly by Vanessa Kirby, playing Martha, who had been shown the script by Sam Levinson; she had met with the Levinsons and told them she wanted to make a film like A Woman Under the Influence. Mundrucz\u00f3 was a fan of The Crown and wanted to cast Kirby after watching her as Princess Margaret, Countess of Snowdon and thinking her performance resembled Claudia Cardinale and Catherine Deneuve. He also wanted to work with Kirby at this point in her career, \"Where all of the skills are already there, but the fear is not [...] When you are very established, you are more and more careful.\" Though Kirby was considered a frontrunner in discussions for the role, the production had been turned down by bigger names before Kirby was shown the script; the day after she read it, she flew to Budapest and they had a two-hour meeting with Mundrucz\u00f3. Asked about this, Kirby said that she \"just loved the script ... You just know when you know\".Kirby and LaBeouf were revealed as the lead roles when the film was announced in October 2019. Kirby spoke with women who had experienced baby loss to prepare for her role, and prepared extensively for her performance of labor in the opening scene. She had not given birth herself and was concerned about realism; she first watched childbirth documentaries but felt these were too edited and so she wrote to obstetricians and was invited by one, Claire Mellon, to observe on a labor ward, including being allowed to witness a birth, which she told NPR she would not have been able to perform in the film without.In December 2019, Jimmie Fails, Ellen Burstyn, Molly Parker and Iliza Shlesinger joined the cast of the film, followed by Sarah Snook and Benny Safdie in January 2020. Burstyn said getting cast in the film felt like \"a win-win-win situation\", as she was able to work with Mundrucz\u00f3, whose White God Burstyn enjoyed, and Kirby, whose The Crown performance Burstyn had been impressed by; Kirby was also excited to work with Burstyn.\n\nFilming\nPrincipal photography began on December 3, 2019, in Montreal, Canada, and lasted until the end of January 2020.The film is noted for its 24-minute long take labor scene at the start, dubbed \"The Scene\" by The Guardian's Adrian Horton and described as \"one of the most controversial scenes of the year\" by Entertainment Weekly. Writer W\u00e9ber did not anticipate a one-shot take, which Mundrucz\u00f3 planned from the start, though knew she wanted all the details present. Mundrucz\u00f3 began the scene with Martha's first pains and ended with the arrival of an ambulance \"because [they didn't] want to show exactly what's happening\", wanting to leave the audience having only seen the baby alive while creating suspense. As the director, Mundrucz\u00f3 wanted the actors to make their own performance choices in the scene; there were no marks to hit, LaBeouf came up with the bad jokes used himself, and the production team would not show the cast any of the stage performance so as not to influence them. Kirby told Empire that the cast \"had a map of where to be, and then [they would] freefall and see what happened.\" Three crewmembers were used for the scene: director of photography Benjamin Loeb, acting as camera operator upon Mundrucz\u00f3's request, and two boom operators. A birthing coach, Elan McAllister, had also been brought to the set to assist Kirby and LaBeouf. Loeb chose to shoot the scene with a gimbal as he wanted a \"floaty\" quality to the scene to represent the baby's perspective and felt that using a hand-held camera would make it look too much like a documentary; he also explained the smooth gimbal movement made the scene easier to physically watch, which was something Mundrucz\u00f3 wanted in order to compensate for the potentially-divisive subject matter. Loeb physically trained beforehand so that he would have the strength to carry a gimbal-loaded camera for the whole take, though the shoot still negatively affected his health.\nThe scene was filmed six times over two days, four times on one day and twice the next, with one camera; it was the first scene shot for the film and took up over 30 pages in the script. The choice to use a single take stemmed from the scene in the play and its inclusion of live video. Loeb said that they \"wanted to make sure that the sequence felt like it was presented as a long-winded breath in some ways\". The fourth of the six takes was used; though less technically accurate than the takes on the second day, Mundrucz\u00f3 felt it was more alive. Kirby was glad to be filming the scene in one take, which, while intimidating, meant that she kept the same energy throughout; she said filming the scene was like performing on stage, and that it was \"the best film experience of [her] life\", though it took a long time to come down from the emotions she went through in making it. To stay in the emotional place between scenes, Kirby listened to a playlist of songs about expectancy and birth.Set within the couple's apartment, the scene was filmed in a real house. It had large archways that allowed Loeb and the cast movement \u2013 Kirby was encouraged to make use of the space if she wanted to \u2013 except for the bathroom door; Mundrucz\u00f3 initially wanted to pass in and out of the bathroom three times but this was reduced to once to limit the possibility of the shot being ruined. He had chosen the house because it had the same layout as the set design of their play. Before shooting, one practice run was taken; filmed on Loeb's phone, the practice took 38 minutes. Mundrucz\u00f3 did not do another practice, telling Vulture that \"if you are very choreographed, then the whole shot can be really cold and calculated, [and] when you don't fix anything, it [can] become a Dogme style of shaking camera.\" A real baby was used in the scene, with a CGI umbilical cord; the baby was held by its mother just outside the apartment and brought in off-camera for the moment of birth. Mundrucz\u00f3 and Kirby both felt the real baby was integral to the film. Other realism was achieved in the scene: partway through the scene, Sean frantically searches for a phone to call 9-1-1, and in about half of the takes, including the final cut, LaBeouf really struggled to remember where the prop was placed.Richard Brody of The New Yorker described the scene as a \"mere stunt\", saying that it is emotionally empty until the last moments and its significance to the rest of the film is an \"ultimately pointless symbolic function: as evidence.\" Vulture's Hillary Kelly instead felt that the scene \"is a technical trick, but an emotional lever, too, a reminder that labor is a process you cannot wriggle out of once it has begun.\"\n\nMusic\nHoward Shore composed the film's score. The opening piece of the film is a previously released Shore track, the second movement of his Ruin and Memory piano concerto performed by Lang Lang. The movement is ten minutes long and reflects the action of the film's 24-minute opening scene; following this, the music becomes \"gradually thornier\" as the story progresses, at times displaying discomfort. Much of the score comprises piano pieces, as well as featuring celesta and oboe, and was said by Maddy Shaw Roberts of Classic FM to guide the audience \"through the story in a contemplative, dreamlike manner, accompanying Martha's reckoning\". Shore became involved after he was introduced to Mundrucz\u00f3 by mutual friend Robert Lantos, and the pair collaborated due to Mundrucz\u00f3's opera background; Mundrucz\u00f3 wanted a score that was classical. They began working on the music during COVID-19 pandemic lockdowns, collaborating remotely with Shore in New York, Mundrucz\u00f3 in Budapest, and the musicians at Teldex Studio in Germany.Shore wanted to express the perspectives of Martha and of her child through his music, showing both grief and hope. Though he does not have a theme, Sean is often represented with darker music. The themes representing Martha and the baby recur throughout the film, including the baby's theme playing while Martha solemnly watches other children, and pieces of Ruin and Memory are repurposed in other parts of the score. At the end of the film, a new melody, which was \"partly improvised\" by Holger Groschopp, is used to represent Martha moving on.The soundtrack was released digitally by Decca Records on January 8, 2021. Reviewers criticized the score as \"intrusive\".\n\nRelease\nThe film had its world premiere at the 77th Venice International Film Festival in official competition on September 4, 2020, and had its North American premiere at TIFF Bell Lightbox during the 2020 Toronto International Film Festival (TIFF) shortly afterward. On September 12, Netflix acquired worldwide distribution rights to the film at TIFF. Mundrucz\u00f3 was happy to sell to Netflix, saying their appreciation of independent filmmakers is comparable to United Artists in the 1970s.A trailer was released in November 2020, and the film opened in select theaters on December 30, 2020, before beginning to digitally stream on Netflix on January 7, 2021. Upon its digital release, it was the most-watched film over its first three days of release, and finished second overall in its debut weekend.\n\nReception\nCritical response\nOn review aggregator Rotten Tomatoes, the film holds an approval rating of 75% based on 238 reviews, with an average rating of 6.8/10. The website's critics consensus reads: \"Pieces of a Woman struggles to maintain momentum after a stunning opening act, but Vanessa Kirby's performance makes the end result a poignant portrait of grief.\" On Metacritic, it has a weighted average score of 66 out of 100, based on 41 critics, indicating \"generally favorable reviews\".Pippa Vosper of Vogue, who had lost a child in a similar way to Martha in the film, said that Kirby played Martha \"with unnerving accuracy\" and was pleased that the film did not shy away from the harsher realities of baby loss. The Evening Standard's Charlotte O'Sullivan also praised Mundrucz\u00f3 for treating Martha's extended grief with compassion. Horton critiqued that the film centered on Martha's trauma rather than Martha herself, which he found frustrating, though he highly praised Kirby's performance, as did other reviewers. Empire's Terri White and Entertainment Weekly's Leah Greenblatt also praised LaBeouf's performance.Xan Brooks of The Guardian wrote that the film was an \"acting masterclass\" but felt too staged; colleague Peter Bradshaw agreed on the acting talent but felt that, besides the birth scene and the ending, the film comprises \"a lot of frankly inauthentic, silly and jarring plot points\". The Hollywood Reporter's David Rooney opined that while Kirby's performance is \"the movie's shattered core\", the film was undermined by a \"pedestrian\" courtroom speech and awkwardly upbeat ending. Rooney, O'Sullivan, and Justin Chang for NPR were critical of simplistic metaphors and melodrama.\n\nAccolades\nDistributor Netflix initially campaigned for Kirby, LaBeouf, Burstyn, Mundrucz\u00f3, W\u00e9ber, Safdie, Fails, and Snook for awards contention in acting, directing, and writing categories, but removed LaBeouf from their publicity after assault allegations were made against him by former girlfriend FKA Twigs in late 2020 to maintain focus on the film and its significance.\nPassage 2:\nClaude Weisz\nClaude Weisz is a French film director born in Paris.\n\nFilmography\nFeature films\nUne saison dans la vie d'Emmanuel (1972) with Germaine Mont\u00e9ro, Lucien Raimbourg, Florence Giorgetti, Jean-Fran\u00e7ois Delacour, H\u00e9l\u00e8ne Darche, Manuel Pinto, etc.Festival de Cannes 1973 - Quinzaine des r\u00e9alisateurs\nJury Prize: Festival Jeune Cin\u00e9ma 1973\n\nLa Chanson du mal aim\u00e9 (1981) with Rufus, Daniel Mesguich, Christine Boisson, V\u011bra Galat\u00edkov\u00e1, Mark Burns, Philippe Cl\u00e9venot, Dominique Pinon, Madelon Violla, Paloma Matta, B\u00e9atrice Bruno, Catherine Belkhodja, V\u00e9ronique Leblanc, Philippe Avron, Albert Delpy, etc.Festival de Cannes 1982 - Perspectives du cin\u00e9ma fran\u00e7ais\nCompetition selections: Valencia, Valladolid, Istanbul, Montr\u00e9al\n\nOn l'appelait... le Roi Laid (1987) with Yilmaz G\u00fcney (mockumentary)Valencia Festival 1988 - Grand Prix for documentaries \"Laurel Wreath\"\nCompetition selections: Rotterdam, Valladolid, Strasbourg, Nyon, Cannes, Lyon, Cairo\n\nPaula et Paulette, ma m\u00e8re (2005) Documentary - Straight to DVD\n\nShort and mid-length\nLa Grande Gr\u00e8ve (1963 - Co-directed CAS collective, IDHEC)\nL'Inconnue (1966 - with Paloma Matta and G\u00e9rard Blain - Prix CNC Hy\u00e8res, Sidney)\nUn village au Qu\u00e9bec\nMontr\u00e9al\nDeux aspects du Canada (1969)\nLa Hongrie, vers quel socialisme ? (1975 - Nominated for best documentary - C\u00e9sars 1976)\nTibor D\u00e9ry, portrait d'un \u00e9crivain hongrois (1977)\nL'hu\u00eetre boudeuse\nAncienne maison Godin ou le familist\u00e8re de Guise (1977)\nPassementiers et Rubaniers\nLe quinzi\u00e8me mois\nC'\u00e9tait la derni\u00e8re ann\u00e9e de ma vie (1984 - FIPRESCI Prize- Festival Oberhausen 1985 - Nomination - C\u00e9sars 1986)\nNous aimons tant le cin\u00e9ma (Film of the European year of cinema - Delphes 1988)\nParticipation jusqu'en 1978 \u00e0 la r\u00e9alisation de films \"militants\"\n\nTelevision\nSeries of seven dramas in German\nNumerous documentary and docu-soap type films (TVS CNDP)\nInitiation \u00e0 la vie \u00e9conomique (TV series - RTS promotion)\nContemplatives... et femmes (TF1 - 1976)\nSuzel Sabatier (FR3)\nUn autre Or Noir (FR3)\nVivre en G\u00e9orgie\nPortrait d'une g\u00e9n\u00e9ration pour l'an 2000 (France 5 - 2000)\nFemmes de peine, femmes de coeur (FR3 - 2003)\n\nTelevision documentaries\nLa porte de Sarp est ouverte (1998)\nUne histoire balbynienne (2002)\nTamara, une vie de Moscou \u00e0 Port-au-Prince (unfinished)\nHana et Khaman (unfinished)\nEn compagnie d'Albert Memmi (unfinished)\nLe Lucernaire, une passion de th\u00e9\u00e2tre\nLes quatre saisons de la Taillade ou une ferme l'autre\nHistoire du peuple kurde (in development)\nLes kurdes de Bourg-Lastic (2008)\nR\u00e9alisation de films institutionnels et industriels\nPassage 3:\nHeinz Paul\nHeinz Paul (13 August 1893 \u2013 14 March 1983) was a German screenwriter, film producer and director. He was married to the actress Hella Moja.\n\nSelected filmography\nDirector\nThe Street of Forgetting (1923)\nThe Dice Game of Life (1925)\nDepartment Store Princess (1926)\nU-9 Weddigen (1927)\nThe False Prince (1927)\nThe Carousel of Death  (1928)\nThe Woman of Yesterday and Tomorrow (1928)\nMarriage in Name Only (1930)\nThe Love Market (1930)\nNamensheirat (1930)\nStudent Life in Merry Springtime (1931)\nThe Other Side (1931)\nCircus Life (1931)\nTannenberg (1932)\nTrenck (1932)\nMarschall Vorw\u00e4rts (1932)\nWilliam Tell (1934)\nThe Four Musketeers (1934)\nMiracle of Flight (1935)\nPaul and Pauline (1936)\nHilde and the Volkswagen (1936)\nComrades at Sea (1938)\nCome Back to Me (1944)\nGood Fortune in Ohio (1950)\nOperation Edelweiss (1954)\nMarriages Forbidden (1957)\nThe Elephant in a China Shop (1958)\nHula-Hopp, Conny (1959)\nOriental Nights (1960)\n\nProducer\nThe Castle in the South (1933)\n\nScreenwriter\nCountess Walewska (1920)\n\nBibliography\nKester, Bernadette. Film Front Weimar: Representations of the First World War in German films of the Weimar Period (1919-1933). Amsterdam University Press, 2003.\n\nExternal links\nHeinz Paul at IMDb\nPassage 4:\nKorn\u00e9l Mundrucz\u00f3\nKorn\u00e9l Mundrucz\u00f3 (Hungarian: [\u02c8korne\u02d0l \u02c8mundrut\u0361so\u02d0]; born 3 April 1975) is a Hungarian film and theatre director. He has directed 18 short and feature films between 1998 and 2020. His film Johanna was screened in the Un Certain Regard section of the 2005 Cannes Film Festival. The production of White God, another of his full-length films, was supported by the Hungarian Film Fund. It won the Prize Un Certain Regard at the 2014 Cannes Film Festival and was screened in the Spotlight section of Sundance Film Festival in 2015.\n\nEarly life\nMundrucz\u00f3 earned a diploma from Hungary's Academy of Film and Drama in 1998 as an actor, then in 2003 as a film and television director. In that same year, he founded Proton Cinema Ltd., dedicated to film production, along with Vikt\u00f3ria Petr\u00e1nyi, a constant co-creator and collaborator in his work and writing since the academy.\n\nCareer\nFilm\nMundrucz\u00f3's first full-length feature This I wish and nothing more won, among other prizes, the award for best first film at the 31st Hungarian Film Week, as well as its Students\u2019 Jury and Directors\u2019 Guild Awards. He directed his short film Afta shortly after leaving school. It went on to win numerous international awards. Pleasant Days, his second feature film, was awarded the Silver Leopard in Locarno in 2002. In 2003, he won the Cin\u00e9fondation Program's artistic grant, within the framework of the Cannes International Film Festival, where he developed the screenplay of the film Delta, together with Yvette B\u00edr\u00f3 in Paris.He has been a member of the European Film Academy since 2004. In 2005, he won the Nipkow Program's artistic grant to participate for three months in courses and consultations for talented screenwriters and directors in Berlin. His fourth, fifth, and seventh feature-length films were entered in the official competition of Cannes Film Festival: Delta in 2008, Tender Son in 2010 and Jupiter's Moon in 2017. The first won the FIPRESCI Award.In 2014, his film, White God \u2013 which was invited to Cannes Film Festival and made with the support of Eurimages, the European Council\u2019s film foundation and the Hungarian National Film Foundation \u2013 won the main prize of the Un Certain Regard program at the 67th Cannes Film Festival. Also, the film\u2019s canine star won the Palm Dog Award for best performance by a dog. His first English-language feature, Pieces of a Woman, was in Competition at 77th Venice International Film Festival.In 2021, his film Evolution premiered in the new section of 2021 Cannes Film Festival, called Cannes Premiere, designed to give returning Cannes auteurs a safe place to screen new work outside of the competition.\n\nTheatre\nMundrucz\u00f3 has worked in theatre and opera since 2003, first in Hungary and then in theatres abroad such as the Thalia Theater in Hamburg, the TR Warszawa, the Schauspielhaus Z\u00fcrich and the Vlaamse Opera. He is most keen to begin new projects where he finds the subject, collaborators and venue inspiring. During the creative process, he strives to create a team. For new projects, he very often casts the same actors, who work with him as creative partners. After freelancing with more or less the same group of people for several years, in 2009, he founded Proton Theatre, his independent theatre company, with producer D\u00f3ra B\u00fcki.Proton Theatre is a virtual artistic company organised around the director\u2019s independent productions. Besides preserving maximum artistic freedom, their goal is to ensure a professional structure for their independently produced theatre plays and projects. Chiefly, their performances are realized as international co-productions, and their frequent collaborators include the Wiener Festwochen, HAU Hebbel am Ufer in Berlin, Kunstenfestivaldesarts in Brussels, Traf\u00f3 House of Contemporary Arts in Budapest and Hellerau in Dresden. Productions directed by the artistic leader include The Ice (2006); Frankenstein-project (2007), which inspired his later film Tender Son; Hard to be a God (2010); Disgrace (2012), based on the post-apartheid novel by Nobel Prize-winner J. M. Coetzee and, in turn, inspiring his film White God; Dementia (2014), Winterreise (2015), Imitation of Life (2016), The Raft of the Medusa (2018), Evolution (2019) inspiring his film with the same title and The Seven Deadly Sins/Motherland (2020). In addition, Proton wishes to provide space for the realisation of company members\u2019 ideas. In this spirit, they created the following performances: Last (2014), directed by Roland R\u00e1ba; 1 link (2015), directed by Gergely B\u00e1nki and Finding Quincy by J\u00e1nos Szemenyei.\nProton's performances have toured to more than 110 festivals until 2020, including the Festival d\u2019Avignon, the Adelaide Festival, the Singapore International Festival, the Seoul Bo:m Festival, and the Z\u00fcrcher Theater Spektakel. In 2017, for Imitation of life, Mundrucz\u00f3 was nominated for the Faust Award. It was the first time in the history of this award that a non-German theatre, in this case a Hungarian independent company was nominated.\n\nFilmography\nTheatre\nOpera\nPassage 5:\nOriental Nights\nOriental Nights (German: Orientalische N\u00e4chte) is a 1960 West German crime film directed by Heinz Paul and starring Marina Petrova, Pero Alexander and Karl Lieffen.\n\nCast\nMarina Petrova as Maryse\nPero Alexander as Korff\nKarl Lieffen as Pierre\nBarbara Laage as Arlette\nGerti Gordon as Stasi\nReinhard Kolldehoff as Jemzeff\nEduard Linkers as Tomaides\nViktor Afritsch\nRolf von Nauckhoff\nMario del Marius as Dancer\nHanita Hallan as Dancer\nIban Sangare as Dancer\nErika Nein as Dancer\nAngela Hartmann\nAl Hoosmann\nThe Nilsen-Brothers as Singers\nPassage 6:\nSepideh Farsi\nSepideh Farsi (Persian: \u0633\u067e\u06cc\u062f\u0647 \u0641\u0627\u0631\u0633\u06cc; born 1965) is an Iranian director.\n\nEarly years\nFarsi left Iran in 1984 and went to Paris to study mathematics.  However, eventually she was drawn to the visual arts and initially experimented in photography before making her first short films. A main theme of her works is identity. She still visits Tehran each year.\n\nAwards/Recognition\nFarsi was a Member of the Jury of the Locarno International Film Festival in Best First Feature in 2009. She won the FIPRESCI Prize (2002), Cin\u00e9ma du R\u00e9el and Traces de Vie prize (2001) for \"Homi D. Sethna, filmmaker\" and Best documentary prize in Festival dei Popoli (2007) for \"HARAT\".\n\nRecent News\nOne of her latest films is called Tehran Bedoune Mojavez (Tehran Without Permission).  The 83-minute documentary shows life in Iran's crowded capital city of Tehran, facing international sanctions over its nuclear ambitions and experiencing civil unrest.  It was shot entirely with a Nokia camera phone because of the government restrictions over shooting a film.  The film shows various aspects of city life including following women at the hairdressers talking of the latest fads, young men speaking of drugs, prostitution and other societal problems, and the Iranian rapper \u201cHichkas\u201d.  The  dialogue is in Persian with English and Arabic subtitles. In December 2009, Tehran Without Permission was shown at the Dubai International Film Festival.\n\nFilmography\nRed Rose (2014)\nCloudy Greece (2013)\nZire \u00c2b / The house under the water (2010)\nTehran bedoune mojavez / Tehran without permission (2009)\nIf it were Icarus (2008)\nHarat (2007)\nNegah / The Gaze (2006)\nKhab-e khak / Dreams of Dust (2003)\nSafar-e Maryam / The journey of Maryam (2002)\nMardan-e Atash / Men of Fire (2001)\nHomi D. Sethna, filmmaker (2000)\nDonya khaneye man ast / The world is my home (1999)\nKhabe \u00c2b / Water dreams (1997)\nB\u00e2d-e shomal / Northwind (1993)\nPassage 7:\nFred Roy Krug\nFred R. Krug is an American film and television producer-director born in Bern, Switzerland.\nPassage 8:\nJoshua Sinclair\nJoshua Sinclair (born May 7, 1953) is an American writer, producer, actor and director born in New York City.\n\nFilmography\nPassage 9:\nJacques D\u00e9combe\nJacques D\u00e9combe is a French author, actor and director born in 1953.\n\nBiography\nAfter he studied at the Conservatoire national d'art dramatique, he was the director of the shows of Les Inconnus at the request of Didier Bourdon and won the Moli\u00e8re Award for best comedy show. (See fr:Moli\u00e8re du meilleur spectacle comique) in 1991. He also directed shows by Charlotte de Turckheim, Chevallier et Laspal\u00e8s, Patrick Timsit, Les Chevaliers du fiel...\nPassage 10:\nYolonda Ross\nYolonda Ross is an American actress, writer and director.\n\nLife and career\nRoss was born and raised in Omaha, Nebraska. She began her acting career in New York, appearing in the episodes of television series New York Undercover and Third Watch. Before landing the leading role in the independent drama film, Stranger Inside (2001). The movie produced by HBO, first premiered on television, but Ross was nominated for an Independent Spirit Award for Best Debut Performance. She later had supporting roles in a number of independent productions and guest-starred on Law & Order and Law & Order: Criminal Intent, and in 2011 had a recurring role of HBO's Treme.Ross co-starred alongside LisaGay Hamilton in the critically acclaimed 2013 independent drama film, Go for Sisters. She received Independent Spirit Award for Best Supporting Female nomination for her performance in film. She later was cast opposite Viola Davis in Lila & Eve. In 2015, Ross played Robyn Crawford, the friend, assistant, and reported girlfriend of Whitney Houston, in the Lifetime movie, Whitney directed by Angela Bassett.In 2017, Ross had a recurring role opposite Viola Davis in the ABC legal thriller How to Get Away with Murder. The following year she was cast in a series regular role in the Showtime drama series, The Chi.\n\nFilmography\nFilm and TV Movies\nTelevision\nAwards and nominations", "answers": ["Oriental Nights"], "length": 5382, "dataset": "2wikimqa_e", "language": "en", "all_classes": null, "_id": "e073fe98e7399449d3472ff2c32bb8dedfc57fb49c773ee3"}/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.