ibm-research/duorc huggingface dataset:
Side Street

Joe Norson (Farley Granger) and his wife Ellen (Cathy ODonnell are a young married couple with a child on the way and living with their parents. Joe delivers mail for the Post Office and dreams of what hell do if he gets a little money saved up. When he discovers an envelop filled with cash in the file cabinet of one of his delivery addresses he takes it finding it filled with $30, 000 dollars in bank notes and documents about a criminal from an attorney. The cash is from a blackmail scheme that the attorney has fronted using the muscle of one of his clients Georgie Garsell (James Craig) who murders several people involved. Joe reconsidering his actions tells his wife he has gotten a job upstate, leaves the money with a local bar owner, and holes up in a cheap hotel. When he tries to own up to the crime and return the money the attorney denies any such money existed, but worse when he returns to the bar when he left the cash, he finds that the bar owner has disappeared. By the time he is able to see his new son and tell wife the truth, the police are tracking down the crooks who are stalking Joe, and the web of murder and deception grows tighter.

Question: Who plays Joe Norson ?
Answer: Farley Granger.
Side Street

Joe Norson (Farley Granger) and his wife Ellen (Cathy ODonnell are a young married couple with a child on the way and living with their parents. Joe delivers mail for the Post Office and dreams of what hell do if he gets a little money saved up. When he discovers an envelop filled with cash in the file cabinet of one of his delivery addresses he takes it finding it filled with $30, 000 dollars in bank notes and documents about a criminal from an attorney. The cash is from a blackmail scheme that the attorney has fronted using the muscle of one of his clients Georgie Garsell (James Craig) who murders several people involved. Joe reconsidering his actions tells his wife he has gotten a job upstate, leaves the money with a local bar owner, and holes up in a cheap hotel. When he tries to own up to the crime and return the money the attorney denies any such money existed, but worse when he returns to the bar when he left the cash, he finds that the bar owner has disappeared. By the time he is able to see his new son and tell wife the truth, the police are tracking down the crooks who are stalking Joe, and the web of murder and deception grows tighter.

Question: Who plays Ellen ?
Answer: Cathy ODonnell.
Shootout at Lokhandwala

From director Apoorva Lakhia comes Shootout At Lokhandwala, a shocking, hypnotic look at a real-life disaster.On a calm summer day in 1991, in the bustling Lokhandwala Complex, five criminals including Maya and Dilip were counting 70 lakhs in flat no. 32 B, when 286 policemen, headed by ACP Khan, took strategic positions around their building. A gunfire ensued and the entire nation witnessed the most talked about daylight encounter lasting 6 hours that transformed suburban Mumbai into a virtual war zone.Shootout At Lokhandwala is the story of a seasoned cop, Khan, who chased Khalistani extremists, handpicked cops like Inspector Kaviraj Patil and Constable Javed Shaikh, and dared to engage trigger-happy gangsters in a residential locality of Mumbai. Khan's fight went beyond the encounter as he faced inquisition from his own department and legal charges of human rights violations. Shootout At Lokhandwala is the story of an upcoming underworld gangster, Maya, and his highly skilled partner, Dilip. The two made extortion the buzzword in the early 90s and dared to disobey the big bhai of the underworld, drawing the attention of Khan and his newly formed ATS squad. Both Khan and Maya were men obsessed, so devoted to their professions that their personal lives were a disaster.Shootout At Lokhandwala explores the personal obsessions and sacrifices of the two protagonists with absorbing insight, with some of the most riveting action sequences to be ever filmed.

Question: Who is Maya's partner?
Answer: Dilip
Shootout at Lokhandwala

From director Apoorva Lakhia comes Shootout At Lokhandwala, a shocking, hypnotic look at a real-life disaster.On a calm summer day in 1991, in the bustling Lokhandwala Complex, five criminals including Maya and Dilip were counting 70 lakhs in flat no. 32 B, when 286 policemen, headed by ACP Khan, took strategic positions around their building. A gunfire ensued and the entire nation witnessed the most talked about daylight encounter lasting 6 hours that transformed suburban Mumbai into a virtual war zone.Shootout At Lokhandwala is the story of a seasoned cop, Khan, who chased Khalistani extremists, handpicked cops like Inspector Kaviraj Patil and Constable Javed Shaikh, and dared to engage trigger-happy gangsters in a residential locality of Mumbai. Khan's fight went beyond the encounter as he faced inquisition from his own department and legal charges of human rights violations. Shootout At Lokhandwala is the story of an upcoming underworld gangster, Maya, and his highly skilled partner, Dilip. The two made extortion the buzzword in the early 90s and dared to disobey the big bhai of the underworld, drawing the attention of Khan and his newly formed ATS squad. Both Khan and Maya were men obsessed, so devoted to their professions that their personal lives were a disaster.Shootout At Lokhandwala explores the personal obsessions and sacrifices of the two protagonists with absorbing insight, with some of the most riveting action sequences to be ever filmed.

Question: What year does Shootout at Lokhandwala place?
Answer: 1991
Shootout at Lokhandwala

From director Apoorva Lakhia comes Shootout At Lokhandwala, a shocking, hypnotic look at a real-life disaster.On a calm summer day in 1991, in the bustling Lokhandwala Complex, five criminals including Maya and Dilip were counting 70 lakhs in flat no. 32 B, when 286 policemen, headed by ACP Khan, took strategic positions around their building. A gunfire ensued and the entire nation witnessed the most talked about daylight encounter lasting 6 hours that transformed suburban Mumbai into a virtual war zone.Shootout At Lokhandwala is the story of a seasoned cop, Khan, who chased Khalistani extremists, handpicked cops like Inspector Kaviraj Patil and Constable Javed Shaikh, and dared to engage trigger-happy gangsters in a residential locality of Mumbai. Khan's fight went beyond the encounter as he faced inquisition from his own department and legal charges of human rights violations. Shootout At Lokhandwala is the story of an upcoming underworld gangster, Maya, and his highly skilled partner, Dilip. The two made extortion the buzzword in the early 90s and dared to disobey the big bhai of the underworld, drawing the attention of Khan and his newly formed ATS squad. Both Khan and Maya were men obsessed, so devoted to their professions that their personal lives were a disaster.Shootout At Lokhandwala explores the personal obsessions and sacrifices of the two protagonists with absorbing insight, with some of the most riveting action sequences to be ever filmed.

Question: How many policemen were in the gunfight?
Answer: 286
Not Quite Hollywood: The Wild, Untold Story of Ozploitation!

Not Quite Hollywood documents the revival of Australian cinema during the Australian New Wave of the 1970s and '80s through B-movies including Alvin Purple, Barry McKenzie Holds His Own, Dead-End Drive In, Long Weekend, Mad Max, The Man from Hong Kong, Patrick, Razorback, Road Games, Stork and Turkey Shoot. From 1971 through to the late 1980s, Australian directors began to take advantage of the newly introduced R-rating which allowed more on-screen nudity, sex and violence for audiences restricted to age 18 and over.[1] "Ozploitation"âwriter-director Mark Hartley's own portmanteau of "Australian exploitation"âwas a subgenre of the New Wave which accounted for the critically panned "gross-out comedies, sex romps, action and road movies, teen films, westerns, thrillers and horror films" of the era, commonly overlooked in Australia's "official film history".[2] The film addresses three main categories of "Ozploitation" films: sex, horror and action.[3]

Question: What is another name for "Australian Exploitation"?
Answer: Ozploitation
Not Quite Hollywood: The Wild, Untold Story of Ozploitation!

Not Quite Hollywood documents the revival of Australian cinema during the Australian New Wave of the 1970s and '80s through B-movies including Alvin Purple, Barry McKenzie Holds His Own, Dead-End Drive In, Long Weekend, Mad Max, The Man from Hong Kong, Patrick, Razorback, Road Games, Stork and Turkey Shoot. From 1971 through to the late 1980s, Australian directors began to take advantage of the newly introduced R-rating which allowed more on-screen nudity, sex and violence for audiences restricted to age 18 and over.[1] "Ozploitation"âwriter-director Mark Hartley's own portmanteau of "Australian exploitation"âwas a subgenre of the New Wave which accounted for the critically panned "gross-out comedies, sex romps, action and road movies, teen films, westerns, thrillers and horror films" of the era, commonly overlooked in Australia's "official film history".[2] The film addresses three main categories of "Ozploitation" films: sex, horror and action.[3]

Question: What is writer-director Mark Hartley's own portmanteau of "Australian exploitation"?
Answer: "Ozploitation"
Not Quite Hollywood: The Wild, Untold Story of Ozploitation!

Not Quite Hollywood documents the revival of Australian cinema during the Australian New Wave of the 1970s and '80s through B-movies including Alvin Purple, Barry McKenzie Holds His Own, Dead-End Drive In, Long Weekend, Mad Max, The Man from Hong Kong, Patrick, Razorback, Road Games, Stork and Turkey Shoot. From 1971 through to the late 1980s, Australian directors began to take advantage of the newly introduced R-rating which allowed more on-screen nudity, sex and violence for audiences restricted to age 18 and over.[1] "Ozploitation"âwriter-director Mark Hartley's own portmanteau of "Australian exploitation"âwas a subgenre of the New Wave which accounted for the critically panned "gross-out comedies, sex romps, action and road movies, teen films, westerns, thrillers and horror films" of the era, commonly overlooked in Australia's "official film history".[2] The film addresses three main categories of "Ozploitation" films: sex, horror and action.[3]

Question: When did Australian directors begin to take advantage of the newly introduced R-rating which allowed more on-screen nudity, sex and violence for audiences restricted to age 18 and over?
Answer: from 1971 through to the late 1980s
Not Quite Hollywood: The Wild, Untold Story of Ozploitation!

Not Quite Hollywood documents the revival of Australian cinema during the Australian New Wave of the 1970s and '80s through B-movies including Alvin Purple, Barry McKenzie Holds His Own, Dead-End Drive In, Long Weekend, Mad Max, The Man from Hong Kong, Patrick, Razorback, Road Games, Stork and Turkey Shoot. From 1971 through to the late 1980s, Australian directors began to take advantage of the newly introduced R-rating which allowed more on-screen nudity, sex and violence for audiences restricted to age 18 and over.[1] "Ozploitation"âwriter-director Mark Hartley's own portmanteau of "Australian exploitation"âwas a subgenre of the New Wave which accounted for the critically panned "gross-out comedies, sex romps, action and road movies, teen films, westerns, thrillers and horror films" of the era, commonly overlooked in Australia's "official film history".[2] The film addresses three main categories of "Ozploitation" films: sex, horror and action.[3]

Question: What newly introduced feature did film makers take advantage of during this time?
Answer: R-Ratings
Not Quite Hollywood: The Wild, Untold Story of Ozploitation!

Not Quite Hollywood documents the revival of Australian cinema during the Australian New Wave of the 1970s and '80s through B-movies including Alvin Purple, Barry McKenzie Holds His Own, Dead-End Drive In, Long Weekend, Mad Max, The Man from Hong Kong, Patrick, Razorback, Road Games, Stork and Turkey Shoot. From 1971 through to the late 1980s, Australian directors began to take advantage of the newly introduced R-rating which allowed more on-screen nudity, sex and violence for audiences restricted to age 18 and over.[1] "Ozploitation"âwriter-director Mark Hartley's own portmanteau of "Australian exploitation"âwas a subgenre of the New Wave which accounted for the critically panned "gross-out comedies, sex romps, action and road movies, teen films, westerns, thrillers and horror films" of the era, commonly overlooked in Australia's "official film history".[2] The film addresses three main categories of "Ozploitation" films: sex, horror and action.[3]

Question: From what time did the Australian New Wave occur?
Answer: 1970s and '80s
Not Quite Hollywood: The Wild, Untold Story of Ozploitation!

Not Quite Hollywood documents the revival of Australian cinema during the Australian New Wave of the 1970s and '80s through B-movies including Alvin Purple, Barry McKenzie Holds His Own, Dead-End Drive In, Long Weekend, Mad Max, The Man from Hong Kong, Patrick, Razorback, Road Games, Stork and Turkey Shoot. From 1971 through to the late 1980s, Australian directors began to take advantage of the newly introduced R-rating which allowed more on-screen nudity, sex and violence for audiences restricted to age 18 and over.[1] "Ozploitation"âwriter-director Mark Hartley's own portmanteau of "Australian exploitation"âwas a subgenre of the New Wave which accounted for the critically panned "gross-out comedies, sex romps, action and road movies, teen films, westerns, thrillers and horror films" of the era, commonly overlooked in Australia's "official film history".[2] The film addresses three main categories of "Ozploitation" films: sex, horror and action.[3]

Question: What was the subgenre of the New Wave?
Answer: "Ozploitation"
Not Quite Hollywood: The Wild, Untold Story of Ozploitation!

Not Quite Hollywood documents the revival of Australian cinema during the Australian New Wave of the 1970s and '80s through B-movies including Alvin Purple, Barry McKenzie Holds His Own, Dead-End Drive In, Long Weekend, Mad Max, The Man from Hong Kong, Patrick, Razorback, Road Games, Stork and Turkey Shoot. From 1971 through to the late 1980s, Australian directors began to take advantage of the newly introduced R-rating which allowed more on-screen nudity, sex and violence for audiences restricted to age 18 and over.[1] "Ozploitation"âwriter-director Mark Hartley's own portmanteau of "Australian exploitation"âwas a subgenre of the New Wave which accounted for the critically panned "gross-out comedies, sex romps, action and road movies, teen films, westerns, thrillers and horror films" of the era, commonly overlooked in Australia's "official film history".[2] The film addresses three main categories of "Ozploitation" films: sex, horror and action.[3]

Question: Which three main categories of "Ozploitation" films does the film address?
Answer: sex, horror and action
Not Quite Hollywood: The Wild, Untold Story of Ozploitation!

Not Quite Hollywood documents the revival of Australian cinema during the Australian New Wave of the 1970s and '80s through B-movies including Alvin Purple, Barry McKenzie Holds His Own, Dead-End Drive In, Long Weekend, Mad Max, The Man from Hong Kong, Patrick, Razorback, Road Games, Stork and Turkey Shoot. From 1971 through to the late 1980s, Australian directors began to take advantage of the newly introduced R-rating which allowed more on-screen nudity, sex and violence for audiences restricted to age 18 and over.[1] "Ozploitation"âwriter-director Mark Hartley's own portmanteau of "Australian exploitation"âwas a subgenre of the New Wave which accounted for the critically panned "gross-out comedies, sex romps, action and road movies, teen films, westerns, thrillers and horror films" of the era, commonly overlooked in Australia's "official film history".[2] The film addresses three main categories of "Ozploitation" films: sex, horror and action.[3]

Question: What does the film document?
Answer: the revival of Australian cinema during the Australian New Wave of the 1970s and '80s
Not Quite Hollywood: The Wild, Untold Story of Ozploitation!

Not Quite Hollywood documents the revival of Australian cinema during the Australian New Wave of the 1970s and '80s through B-movies including Alvin Purple, Barry McKenzie Holds His Own, Dead-End Drive In, Long Weekend, Mad Max, The Man from Hong Kong, Patrick, Razorback, Road Games, Stork and Turkey Shoot. From 1971 through to the late 1980s, Australian directors began to take advantage of the newly introduced R-rating which allowed more on-screen nudity, sex and violence for audiences restricted to age 18 and over.[1] "Ozploitation"âwriter-director Mark Hartley's own portmanteau of "Australian exploitation"âwas a subgenre of the New Wave which accounted for the critically panned "gross-out comedies, sex romps, action and road movies, teen films, westerns, thrillers and horror films" of the era, commonly overlooked in Australia's "official film history".[2] The film addresses three main categories of "Ozploitation" films: sex, horror and action.[3]

Question: What did the newly introduced R-rating allow?
Answer: more on-screen nudity, sex and violence for audiences restricted to age 18 and over
Daffy Duck's Quackbusters

Daffy Duck attempts to make money any way he can, when a news bulletin tells of the declining health of ailing 'buzzsaw baron,' J.P. Cubish. Cubish has been quoted as saying he would give a million dollars for one last laugh.Daffy goes to Cubish's place, and after getting rid of the butler, manages to become Cubish's personal clown...until Cubish dies of laughter. At the reading of the will, Daffy is bequeathed J.P.'s assets, with the stipulation that he use them to provide a public service.Naturally, Daffy figures he is home-free, until the spirit of Cubish begins to make the money vanish, proclaiming that Daffy must use it for 'good.' Daffy then decides to use the money to start an agency to investigate paranormal activity. He ends up hiring Bugs Bunny and Porky Pig, and each of them goes off to investigate strange activity.Though they investigate all manner of paranormal activity, Daffy grows frustrated when they can't turn a profit, and soon, Cubish's ghost has made the last of the money disappear. Daffy is then evicted from his office-space due to unpaid rent, and the items in his office are repossessed as well.While Porky and Bugs have gone their separate ways, Daffy returns to trying to sell items on the street corner to turn a profit.

Question: What will Cubish give a million dollars for?
Answer: One last laugh
Daffy Duck's Quackbusters

Daffy Duck attempts to make money any way he can, when a news bulletin tells of the declining health of ailing 'buzzsaw baron,' J.P. Cubish. Cubish has been quoted as saying he would give a million dollars for one last laugh.Daffy goes to Cubish's place, and after getting rid of the butler, manages to become Cubish's personal clown...until Cubish dies of laughter. At the reading of the will, Daffy is bequeathed J.P.'s assets, with the stipulation that he use them to provide a public service.Naturally, Daffy figures he is home-free, until the spirit of Cubish begins to make the money vanish, proclaiming that Daffy must use it for 'good.' Daffy then decides to use the money to start an agency to investigate paranormal activity. He ends up hiring Bugs Bunny and Porky Pig, and each of them goes off to investigate strange activity.Though they investigate all manner of paranormal activity, Daffy grows frustrated when they can't turn a profit, and soon, Cubish's ghost has made the last of the money disappear. Daffy is then evicted from his office-space due to unpaid rent, and the items in his office are repossessed as well.While Porky and Bugs have gone their separate ways, Daffy returns to trying to sell items on the street corner to turn a profit.

Question: What does Cubish die of?
Answer: Laughter
Daffy Duck's Quackbusters

Daffy Duck attempts to make money any way he can, when a news bulletin tells of the declining health of ailing 'buzzsaw baron,' J.P. Cubish. Cubish has been quoted as saying he would give a million dollars for one last laugh.Daffy goes to Cubish's place, and after getting rid of the butler, manages to become Cubish's personal clown...until Cubish dies of laughter. At the reading of the will, Daffy is bequeathed J.P.'s assets, with the stipulation that he use them to provide a public service.Naturally, Daffy figures he is home-free, until the spirit of Cubish begins to make the money vanish, proclaiming that Daffy must use it for 'good.' Daffy then decides to use the money to start an agency to investigate paranormal activity. He ends up hiring Bugs Bunny and Porky Pig, and each of them goes off to investigate strange activity.Though they investigate all manner of paranormal activity, Daffy grows frustrated when they can't turn a profit, and soon, Cubish's ghost has made the last of the money disappear. Daffy is then evicted from his office-space due to unpaid rent, and the items in his office are repossessed as well.While Porky and Bugs have gone their separate ways, Daffy returns to trying to sell items on the street corner to turn a profit.

Question: Why is Daffy evicted from his office space?
Answer: Unpaid rent
Eye of the Needle

A man calling himself Henry Faber is actually a German spy nicknamed "the Needle" because of his preferred method of assassination, the stiletto. He is a coldly calculating sociopath, emotionlessly focused on the task at hand, whether the task is to signal a U-boat or to gut a witness to avoid exposure.
In England, he has obtained critical information on the Allies' invasion plans. Trying to make his way to Germany, he is stranded by a fierce storm on Storm Island, occupied only by a woman named Lucy (Kate Nelligan), her disabled husband David, their son, and their shepherd, Tom. A romance develops between the woman and the spy, due to an estrangement between Lucy and her husband, whose accident has rendered him emotionally crippled as well.
When David discovers their guest's true identity, a struggle ensues, ending with the Needle throwing him off a cliff. Lucy realizes that her lover has been lying after she chances upon her husband's dead body. "The Needle" must get to Tom's radio to report to his superiors the exact location of the D-Day invasion. Lucy is the Allies' last chance. He is reluctant to harm her, but she has no such qualms and shoots him as he tries to escape in a boat.
Additional footage tells of Faber's activities four years before, and of David's accident, while another ending finds Lucy receiving help from British Intelligence.

Question: What is the spy nicknamed?
Answer: "the Needle".