Given a paragraph about movies and a set of conversational questions and answers about the paragraph, say whether the passage contains sufficient information to answer the follow-up question. Say Yes if it is answerable; otherwise, say No. The paragraph has the prefix 'CONTEXT:'. Each conversation question has a prefix `Q:` followed by the answer prefix `A:`, and the follow-up question has a prefix `FOLLOWUP_Q:`.

Input: Consider Input: CONTEXT: I thought the film's use of the theme was much more politicized than the book's. In the book, when Kenny says that he and George are invisible, I wasn't quite sure what he meant. In the movie, invisibility has been threaded throughout much more explicitly: in the classroom scene George clearly describes “invisible minorities” to his class. I took this as the filmmaker's attempt to make the historical particularities of George's situation clear. In the book, however, Kenny's comment sort of complicates George's understanding of his own minority position. Throughout the book, George believes his pain is invisible to others because society has refused to acknowledge his relationship. He thinks this is a somewhat unique situation, because of his position as a gay man in a homophobic society. Kenny's comment, however, suggests that invisibility is more inclusive than that. Perhaps Kenny means that they're invisible because they're out when no one expects them to be out, or because their homosocial behavior isn't understood by society, or because they're powerless to stop the Cuban Missile Crisis. Or, perhaps Kenny knows that George is gay and is trying to have an experience by sharing the evening with him. I don't know and I don't think we're supposed to know. One of the fantastic things about this novel for me is the way it explodes the idea that we grow closer to others by understanding them better. Caring, closeness, and love in the novel aren't degraded by failures of understanding.  <sep>  Q: What is the meaning of Kenny's words in this scene? A: I don't know and I don't think we're supposed to know  Q: What makes them invisible? A: Perhaps Kenny means that they're invisible because they're out when no one expects them to be out  <sep> FOLLOWUP_Q: Okay, why did the take their clothes off when they were at the beach?

Output: Yes


Input: Consider Input: CONTEXT: You seem to be focusing on the meaning of the words spoken and ignoring the context of the scene surrounding them. The scene in question takes place in the middle of a classroom. The school they're in is an SVR (Russian Intelligence) school for training female assassins, and the specific class they are attending is about seduction, and how to use it to manipulate targets of interest. There is no deception between Dominika and the cadet she's paired with (they both know what's going on in the moment), but Matron is teaching a class about how to seduce people, which would involve deception, out in the real world. The deception she refers to is the act of deceiving the hypothetical victim they will eventually be using these skills on in the future.  <sep>  Q: Which deception is the Matron referring to?

Output: Yes


Input: Consider Input: CONTEXT: To a strong movie fan, no, it cannot hurt - ever. An alternate (possibly revisionist) version of a movie cannot detract from the original viewing experience, it can only add an additional positive (or negative) experience. In the case of Ridley and Blade Runner, I have every version, and his “Final Cut” is my favorite, and I am pleased-giddy that he was able to get yet another version released. It is my opinion that, given 4+ versions, you have the luxury of choosing the one you enjoy most. You have nothing but upside! Any downside is for pessimists, or people who have undue hatred for capitalist who play their little games – while we are still free to play ours. In the case of his refusal to agree to a Director's Cut of Prometheus – that is cool too. I enjoy the fact that as an artist Ridley Scott wraps his arms fully around the meta concept of additional releases, and indeed incorporates that into the overall art – like Claude Monet's Water Lilies, or Haystacks – as long as HE is making the decisions. (You might argue the opposite for 99% of all other director/studio combos.)  <sep>  Q: Does Ridley Scott's Director's Cut releases hurt his movies? A: To a strong movie fan, no, it cannot hurt - ever  <sep> FOLLOWUP_Q: What was his first director's cut?


Output: No