nc33/multispan_quoref huggingface dataset:
When the painting was unveiled in 1953, most Chinese critics were enthusiastic.  Xu Beihong, the president of CAFA and a pioneer in using realism in oil painting, admired the manner in which the work fulfilled its political mission, but complained that because of the colors, it barely resembled an oil painting.  He and others, though, saw that the painting opened a new chapter in Chinese art development.  Zhu Dan, head of the People's Fine Arts Publishing House, which would reproduce the painting for the masses, argued that it was more a poster than an oil painting.  Other artists stated that Dong's earlier works, such as Kazakh Shepherdess (1947) and Liberation (1949), were better examples of the new national style of art.  Senior Party leaders, though, approved of the painting, as art historian Chang-Tai Hung put it, "seeing it as a testament to the young nation's evolving identity and growing confidence".Soon after the unveiling, Jiang wanted to arrange an exhibition at which government officials, including Mao, could view and publicly endorse the new Chinese art.  He had connections in Mao's inner circle, and Dong and others organized it to be in conjunction with meetings at Zhongnanhai that Mao led. This was, most likely, the only time Mao attended an art exhibition after 1949.  Mao visited the exhibition three times in between meetings and especially liked The Founding of the Nation—the official photograph of the event shows Mao and Zhou Enlai viewing the canvas with Dong.  The chairman stared at the painting for a long time and finally said, "It is a great nation.  It really is a great nation."  Mao also stated that the portrayal of Dong Biwu was particularly well rendered.  As Dong Biwu was in the second row, mostly hidden by the large Zhu De, Mao was most likely joking, but the favorable reaction by the country's leader assured the success of the painting.The Founding of the Nation was hailed as one of the greatest oil paintings ever by a Chinese artist by reviewers in that country, and more than 500,000 reproductions were sold in three months.  Mao's praise helped boost the painting and its painter.  Dong's techniques were seen as bridging the gap between the elitist medium of oil painting and popular art, and as a boost to Jiang's position that realistic art could be politically desirable.  It was reproduced in primary and secondary school textbooks.  The painting appeared on the front page of People's Daily in September 1953, and became an officially approved interior decoration.  One English-language magazine published by the Chinese government for distribution abroad showed a model family in a modern apartment, with a large poster of The Founding of the Nation on the wall.  According to Chang-Tai Hung, the painting "became a celebrated propaganda piece".

Question: What is the name of the person who created one of the greatest oil paintings ever by a Chinese artist?
Answer: Dong
When the painting was unveiled in 1953, most Chinese critics were enthusiastic.  Xu Beihong, the president of CAFA and a pioneer in using realism in oil painting, admired the manner in which the work fulfilled its political mission, but complained that because of the colors, it barely resembled an oil painting.  He and others, though, saw that the painting opened a new chapter in Chinese art development.  Zhu Dan, head of the People's Fine Arts Publishing House, which would reproduce the painting for the masses, argued that it was more a poster than an oil painting.  Other artists stated that Dong's earlier works, such as Kazakh Shepherdess (1947) and Liberation (1949), were better examples of the new national style of art.  Senior Party leaders, though, approved of the painting, as art historian Chang-Tai Hung put it, "seeing it as a testament to the young nation's evolving identity and growing confidence".Soon after the unveiling, Jiang wanted to arrange an exhibition at which government officials, including Mao, could view and publicly endorse the new Chinese art.  He had connections in Mao's inner circle, and Dong and others organized it to be in conjunction with meetings at Zhongnanhai that Mao led. This was, most likely, the only time Mao attended an art exhibition after 1949.  Mao visited the exhibition three times in between meetings and especially liked The Founding of the Nation—the official photograph of the event shows Mao and Zhou Enlai viewing the canvas with Dong.  The chairman stared at the painting for a long time and finally said, "It is a great nation.  It really is a great nation."  Mao also stated that the portrayal of Dong Biwu was particularly well rendered.  As Dong Biwu was in the second row, mostly hidden by the large Zhu De, Mao was most likely joking, but the favorable reaction by the country's leader assured the success of the painting.The Founding of the Nation was hailed as one of the greatest oil paintings ever by a Chinese artist by reviewers in that country, and more than 500,000 reproductions were sold in three months.  Mao's praise helped boost the painting and its painter.  Dong's techniques were seen as bridging the gap between the elitist medium of oil painting and popular art, and as a boost to Jiang's position that realistic art could be politically desirable.  It was reproduced in primary and secondary school textbooks.  The painting appeared on the front page of People's Daily in September 1953, and became an officially approved interior decoration.  One English-language magazine published by the Chinese government for distribution abroad showed a model family in a modern apartment, with a large poster of The Founding of the Nation on the wall.  According to Chang-Tai Hung, the painting "became a celebrated propaganda piece".

Question: What work had more than 500,000 reproductions sold in three months?
Answer: The Founding of the Nation
When the painting was unveiled in 1953, most Chinese critics were enthusiastic.  Xu Beihong, the president of CAFA and a pioneer in using realism in oil painting, admired the manner in which the work fulfilled its political mission, but complained that because of the colors, it barely resembled an oil painting.  He and others, though, saw that the painting opened a new chapter in Chinese art development.  Zhu Dan, head of the People's Fine Arts Publishing House, which would reproduce the painting for the masses, argued that it was more a poster than an oil painting.  Other artists stated that Dong's earlier works, such as Kazakh Shepherdess (1947) and Liberation (1949), were better examples of the new national style of art.  Senior Party leaders, though, approved of the painting, as art historian Chang-Tai Hung put it, "seeing it as a testament to the young nation's evolving identity and growing confidence".Soon after the unveiling, Jiang wanted to arrange an exhibition at which government officials, including Mao, could view and publicly endorse the new Chinese art.  He had connections in Mao's inner circle, and Dong and others organized it to be in conjunction with meetings at Zhongnanhai that Mao led. This was, most likely, the only time Mao attended an art exhibition after 1949.  Mao visited the exhibition three times in between meetings and especially liked The Founding of the Nation—the official photograph of the event shows Mao and Zhou Enlai viewing the canvas with Dong.  The chairman stared at the painting for a long time and finally said, "It is a great nation.  It really is a great nation."  Mao also stated that the portrayal of Dong Biwu was particularly well rendered.  As Dong Biwu was in the second row, mostly hidden by the large Zhu De, Mao was most likely joking, but the favorable reaction by the country's leader assured the success of the painting.The Founding of the Nation was hailed as one of the greatest oil paintings ever by a Chinese artist by reviewers in that country, and more than 500,000 reproductions were sold in three months.  Mao's praise helped boost the painting and its painter.  Dong's techniques were seen as bridging the gap between the elitist medium of oil painting and popular art, and as a boost to Jiang's position that realistic art could be politically desirable.  It was reproduced in primary and secondary school textbooks.  The painting appeared on the front page of People's Daily in September 1953, and became an officially approved interior decoration.  One English-language magazine published by the Chinese government for distribution abroad showed a model family in a modern apartment, with a large poster of The Founding of the Nation on the wall.  According to Chang-Tai Hung, the painting "became a celebrated propaganda piece".

Question: What was reproduced in primary and secondary school textbooks?
Answer: The Founding of the Nation
When the painting was unveiled in 1953, most Chinese critics were enthusiastic.  Xu Beihong, the president of CAFA and a pioneer in using realism in oil painting, admired the manner in which the work fulfilled its political mission, but complained that because of the colors, it barely resembled an oil painting.  He and others, though, saw that the painting opened a new chapter in Chinese art development.  Zhu Dan, head of the People's Fine Arts Publishing House, which would reproduce the painting for the masses, argued that it was more a poster than an oil painting.  Other artists stated that Dong's earlier works, such as Kazakh Shepherdess (1947) and Liberation (1949), were better examples of the new national style of art.  Senior Party leaders, though, approved of the painting, as art historian Chang-Tai Hung put it, "seeing it as a testament to the young nation's evolving identity and growing confidence".Soon after the unveiling, Jiang wanted to arrange an exhibition at which government officials, including Mao, could view and publicly endorse the new Chinese art.  He had connections in Mao's inner circle, and Dong and others organized it to be in conjunction with meetings at Zhongnanhai that Mao led. This was, most likely, the only time Mao attended an art exhibition after 1949.  Mao visited the exhibition three times in between meetings and especially liked The Founding of the Nation—the official photograph of the event shows Mao and Zhou Enlai viewing the canvas with Dong.  The chairman stared at the painting for a long time and finally said, "It is a great nation.  It really is a great nation."  Mao also stated that the portrayal of Dong Biwu was particularly well rendered.  As Dong Biwu was in the second row, mostly hidden by the large Zhu De, Mao was most likely joking, but the favorable reaction by the country's leader assured the success of the painting.The Founding of the Nation was hailed as one of the greatest oil paintings ever by a Chinese artist by reviewers in that country, and more than 500,000 reproductions were sold in three months.  Mao's praise helped boost the painting and its painter.  Dong's techniques were seen as bridging the gap between the elitist medium of oil painting and popular art, and as a boost to Jiang's position that realistic art could be politically desirable.  It was reproduced in primary and secondary school textbooks.  The painting appeared on the front page of People's Daily in September 1953, and became an officially approved interior decoration.  One English-language magazine published by the Chinese government for distribution abroad showed a model family in a modern apartment, with a large poster of The Founding of the Nation on the wall.  According to Chang-Tai Hung, the painting "became a celebrated propaganda piece".

Question: What painting and painter was given a boost by Mao's praise?
Answer: The Founding of the Nation, Dong
When the painting was unveiled in 1953, most Chinese critics were enthusiastic.  Xu Beihong, the president of CAFA and a pioneer in using realism in oil painting, admired the manner in which the work fulfilled its political mission, but complained that because of the colors, it barely resembled an oil painting.  He and others, though, saw that the painting opened a new chapter in Chinese art development.  Zhu Dan, head of the People's Fine Arts Publishing House, which would reproduce the painting for the masses, argued that it was more a poster than an oil painting.  Other artists stated that Dong's earlier works, such as Kazakh Shepherdess (1947) and Liberation (1949), were better examples of the new national style of art.  Senior Party leaders, though, approved of the painting, as art historian Chang-Tai Hung put it, "seeing it as a testament to the young nation's evolving identity and growing confidence".Soon after the unveiling, Jiang wanted to arrange an exhibition at which government officials, including Mao, could view and publicly endorse the new Chinese art.  He had connections in Mao's inner circle, and Dong and others organized it to be in conjunction with meetings at Zhongnanhai that Mao led. This was, most likely, the only time Mao attended an art exhibition after 1949.  Mao visited the exhibition three times in between meetings and especially liked The Founding of the Nation—the official photograph of the event shows Mao and Zhou Enlai viewing the canvas with Dong.  The chairman stared at the painting for a long time and finally said, "It is a great nation.  It really is a great nation."  Mao also stated that the portrayal of Dong Biwu was particularly well rendered.  As Dong Biwu was in the second row, mostly hidden by the large Zhu De, Mao was most likely joking, but the favorable reaction by the country's leader assured the success of the painting.The Founding of the Nation was hailed as one of the greatest oil paintings ever by a Chinese artist by reviewers in that country, and more than 500,000 reproductions were sold in three months.  Mao's praise helped boost the painting and its painter.  Dong's techniques were seen as bridging the gap between the elitist medium of oil painting and popular art, and as a boost to Jiang's position that realistic art could be politically desirable.  It was reproduced in primary and secondary school textbooks.  The painting appeared on the front page of People's Daily in September 1953, and became an officially approved interior decoration.  One English-language magazine published by the Chinese government for distribution abroad showed a model family in a modern apartment, with a large poster of The Founding of the Nation on the wall.  According to Chang-Tai Hung, the painting "became a celebrated propaganda piece".

Question: What painting appeared on the front page of People's Daily in September 1953?
Answer: The Founding of the Nation
When the painting was unveiled in 1953, most Chinese critics were enthusiastic.  Xu Beihong, the president of CAFA and a pioneer in using realism in oil painting, admired the manner in which the work fulfilled its political mission, but complained that because of the colors, it barely resembled an oil painting.  He and others, though, saw that the painting opened a new chapter in Chinese art development.  Zhu Dan, head of the People's Fine Arts Publishing House, which would reproduce the painting for the masses, argued that it was more a poster than an oil painting.  Other artists stated that Dong's earlier works, such as Kazakh Shepherdess (1947) and Liberation (1949), were better examples of the new national style of art.  Senior Party leaders, though, approved of the painting, as art historian Chang-Tai Hung put it, "seeing it as a testament to the young nation's evolving identity and growing confidence".Soon after the unveiling, Jiang wanted to arrange an exhibition at which government officials, including Mao, could view and publicly endorse the new Chinese art.  He had connections in Mao's inner circle, and Dong and others organized it to be in conjunction with meetings at Zhongnanhai that Mao led. This was, most likely, the only time Mao attended an art exhibition after 1949.  Mao visited the exhibition three times in between meetings and especially liked The Founding of the Nation—the official photograph of the event shows Mao and Zhou Enlai viewing the canvas with Dong.  The chairman stared at the painting for a long time and finally said, "It is a great nation.  It really is a great nation."  Mao also stated that the portrayal of Dong Biwu was particularly well rendered.  As Dong Biwu was in the second row, mostly hidden by the large Zhu De, Mao was most likely joking, but the favorable reaction by the country's leader assured the success of the painting.The Founding of the Nation was hailed as one of the greatest oil paintings ever by a Chinese artist by reviewers in that country, and more than 500,000 reproductions were sold in three months.  Mao's praise helped boost the painting and its painter.  Dong's techniques were seen as bridging the gap between the elitist medium of oil painting and popular art, and as a boost to Jiang's position that realistic art could be politically desirable.  It was reproduced in primary and secondary school textbooks.  The painting appeared on the front page of People's Daily in September 1953, and became an officially approved interior decoration.  One English-language magazine published by the Chinese government for distribution abroad showed a model family in a modern apartment, with a large poster of The Founding of the Nation on the wall.  According to Chang-Tai Hung, the painting "became a celebrated propaganda piece".

Question: What painting became an officially approved interior decoration?
Answer: The Founding of the Nation
When the painting was unveiled in 1953, most Chinese critics were enthusiastic.  Xu Beihong, the president of CAFA and a pioneer in using realism in oil painting, admired the manner in which the work fulfilled its political mission, but complained that because of the colors, it barely resembled an oil painting.  He and others, though, saw that the painting opened a new chapter in Chinese art development.  Zhu Dan, head of the People's Fine Arts Publishing House, which would reproduce the painting for the masses, argued that it was more a poster than an oil painting.  Other artists stated that Dong's earlier works, such as Kazakh Shepherdess (1947) and Liberation (1949), were better examples of the new national style of art.  Senior Party leaders, though, approved of the painting, as art historian Chang-Tai Hung put it, "seeing it as a testament to the young nation's evolving identity and growing confidence".Soon after the unveiling, Jiang wanted to arrange an exhibition at which government officials, including Mao, could view and publicly endorse the new Chinese art.  He had connections in Mao's inner circle, and Dong and others organized it to be in conjunction with meetings at Zhongnanhai that Mao led. This was, most likely, the only time Mao attended an art exhibition after 1949.  Mao visited the exhibition three times in between meetings and especially liked The Founding of the Nation—the official photograph of the event shows Mao and Zhou Enlai viewing the canvas with Dong.  The chairman stared at the painting for a long time and finally said, "It is a great nation.  It really is a great nation."  Mao also stated that the portrayal of Dong Biwu was particularly well rendered.  As Dong Biwu was in the second row, mostly hidden by the large Zhu De, Mao was most likely joking, but the favorable reaction by the country's leader assured the success of the painting.The Founding of the Nation was hailed as one of the greatest oil paintings ever by a Chinese artist by reviewers in that country, and more than 500,000 reproductions were sold in three months.  Mao's praise helped boost the painting and its painter.  Dong's techniques were seen as bridging the gap between the elitist medium of oil painting and popular art, and as a boost to Jiang's position that realistic art could be politically desirable.  It was reproduced in primary and secondary school textbooks.  The painting appeared on the front page of People's Daily in September 1953, and became an officially approved interior decoration.  One English-language magazine published by the Chinese government for distribution abroad showed a model family in a modern apartment, with a large poster of The Founding of the Nation on the wall.  According to Chang-Tai Hung, the painting "became a celebrated propaganda piece".

Question: What painting "became a celebrated propaganda piece?"
Answer: The Founding of the Nation
When the painting was unveiled in 1953, most Chinese critics were enthusiastic.  Xu Beihong, the president of CAFA and a pioneer in using realism in oil painting, admired the manner in which the work fulfilled its political mission, but complained that because of the colors, it barely resembled an oil painting.  He and others, though, saw that the painting opened a new chapter in Chinese art development.  Zhu Dan, head of the People's Fine Arts Publishing House, which would reproduce the painting for the masses, argued that it was more a poster than an oil painting.  Other artists stated that Dong's earlier works, such as Kazakh Shepherdess (1947) and Liberation (1949), were better examples of the new national style of art.  Senior Party leaders, though, approved of the painting, as art historian Chang-Tai Hung put it, "seeing it as a testament to the young nation's evolving identity and growing confidence".Soon after the unveiling, Jiang wanted to arrange an exhibition at which government officials, including Mao, could view and publicly endorse the new Chinese art.  He had connections in Mao's inner circle, and Dong and others organized it to be in conjunction with meetings at Zhongnanhai that Mao led. This was, most likely, the only time Mao attended an art exhibition after 1949.  Mao visited the exhibition three times in between meetings and especially liked The Founding of the Nation—the official photograph of the event shows Mao and Zhou Enlai viewing the canvas with Dong.  The chairman stared at the painting for a long time and finally said, "It is a great nation.  It really is a great nation."  Mao also stated that the portrayal of Dong Biwu was particularly well rendered.  As Dong Biwu was in the second row, mostly hidden by the large Zhu De, Mao was most likely joking, but the favorable reaction by the country's leader assured the success of the painting.The Founding of the Nation was hailed as one of the greatest oil paintings ever by a Chinese artist by reviewers in that country, and more than 500,000 reproductions were sold in three months.  Mao's praise helped boost the painting and its painter.  Dong's techniques were seen as bridging the gap between the elitist medium of oil painting and popular art, and as a boost to Jiang's position that realistic art could be politically desirable.  It was reproduced in primary and secondary school textbooks.  The painting appeared on the front page of People's Daily in September 1953, and became an officially approved interior decoration.  One English-language magazine published by the Chinese government for distribution abroad showed a model family in a modern apartment, with a large poster of The Founding of the Nation on the wall.  According to Chang-Tai Hung, the painting "became a celebrated propaganda piece".

Question: What painting was unveiled in 1953?
Answer: The Founding of the Nation
In February 1954 Gao Gang, the head of the State Planning Council, was purged from government; he killed himself only months later.  His presence in the painting immediately on Mao's left placed arts officials in a quandary.  Given its popularity among officials and the people, The Founding of the Nation had to be shown at the Second National Arts Exhibition (1955), but it was unthinkable that Gao, deemed a traitor, should be depicted.  Accordingly Dong was ordered to remove Gao from the painting, which he did.
Wu Hung described The Founding of the Nation as "arguably the most celebrated work of official Chinese art".  He noted that the painting is the only "canonized" one depicting the October 1 ceremony, and that other artists have tended to give the people's perspective, subjecting themselves to Mao's gaze.  The painting is a modern-day example of damnatio memoriae, the alteration of artworks or other objects to remove the image or name of a disfavored person.  Deng Zhangyu, in a 2014 article, called the painting "the most significant historical image of China's founding".  Wu Hung suggested that the alterations to it over the years, while always showing Mao proclaiming the new government, parallel the changes that have come to China's leadership during the years of Communist governance.  Andrews wrote that "its greatest importance to the art world was its elevation as a model of party-approved oil painting".  Writer Wu Bing in 2009 called it "a milestone in Chinese oil painting, boldly incorporating national styles".  The painting has never been as highly regarded in the West as in China; according to Andrews, "art history students have been known to roar with laughter when slides of it appear on the screen".  Art historian Michael Sullivan dismissed it as mere propaganda.  Today, following a merger of museums, both paintings are in the National Museum of China, on Tiananmen Square.

Question: What is the full name of the painting that is a modern-day example of damnatio memoriae?
Answer: The Founding of the Nation
In February 1954 Gao Gang, the head of the State Planning Council, was purged from government; he killed himself only months later.  His presence in the painting immediately on Mao's left placed arts officials in a quandary.  Given its popularity among officials and the people, The Founding of the Nation had to be shown at the Second National Arts Exhibition (1955), but it was unthinkable that Gao, deemed a traitor, should be depicted.  Accordingly Dong was ordered to remove Gao from the painting, which he did.
Wu Hung described The Founding of the Nation as "arguably the most celebrated work of official Chinese art".  He noted that the painting is the only "canonized" one depicting the October 1 ceremony, and that other artists have tended to give the people's perspective, subjecting themselves to Mao's gaze.  The painting is a modern-day example of damnatio memoriae, the alteration of artworks or other objects to remove the image or name of a disfavored person.  Deng Zhangyu, in a 2014 article, called the painting "the most significant historical image of China's founding".  Wu Hung suggested that the alterations to it over the years, while always showing Mao proclaiming the new government, parallel the changes that have come to China's leadership during the years of Communist governance.  Andrews wrote that "its greatest importance to the art world was its elevation as a model of party-approved oil painting".  Writer Wu Bing in 2009 called it "a milestone in Chinese oil painting, boldly incorporating national styles".  The painting has never been as highly regarded in the West as in China; according to Andrews, "art history students have been known to roar with laughter when slides of it appear on the screen".  Art historian Michael Sullivan dismissed it as mere propaganda.  Today, following a merger of museums, both paintings are in the National Museum of China, on Tiananmen Square.

Question: What is the full name of the painting referred to as "the most significant historical image of China's founding"?
Answer: The Founding of the Nation
In February 1954 Gao Gang, the head of the State Planning Council, was purged from government; he killed himself only months later.  His presence in the painting immediately on Mao's left placed arts officials in a quandary.  Given its popularity among officials and the people, The Founding of the Nation had to be shown at the Second National Arts Exhibition (1955), but it was unthinkable that Gao, deemed a traitor, should be depicted.  Accordingly Dong was ordered to remove Gao from the painting, which he did.
Wu Hung described The Founding of the Nation as "arguably the most celebrated work of official Chinese art".  He noted that the painting is the only "canonized" one depicting the October 1 ceremony, and that other artists have tended to give the people's perspective, subjecting themselves to Mao's gaze.  The painting is a modern-day example of damnatio memoriae, the alteration of artworks or other objects to remove the image or name of a disfavored person.  Deng Zhangyu, in a 2014 article, called the painting "the most significant historical image of China's founding".  Wu Hung suggested that the alterations to it over the years, while always showing Mao proclaiming the new government, parallel the changes that have come to China's leadership during the years of Communist governance.  Andrews wrote that "its greatest importance to the art world was its elevation as a model of party-approved oil painting".  Writer Wu Bing in 2009 called it "a milestone in Chinese oil painting, boldly incorporating national styles".  The painting has never been as highly regarded in the West as in China; according to Andrews, "art history students have been known to roar with laughter when slides of it appear on the screen".  Art historian Michael Sullivan dismissed it as mere propaganda.  Today, following a merger of museums, both paintings are in the National Museum of China, on Tiananmen Square.

Question: What is the full name of the painting whose alterations over the years parallel the changes that have come to China's leadership during the years of Communist government?
Answer: The Founding of the Nation
In February 1954 Gao Gang, the head of the State Planning Council, was purged from government; he killed himself only months later.  His presence in the painting immediately on Mao's left placed arts officials in a quandary.  Given its popularity among officials and the people, The Founding of the Nation had to be shown at the Second National Arts Exhibition (1955), but it was unthinkable that Gao, deemed a traitor, should be depicted.  Accordingly Dong was ordered to remove Gao from the painting, which he did.
Wu Hung described The Founding of the Nation as "arguably the most celebrated work of official Chinese art".  He noted that the painting is the only "canonized" one depicting the October 1 ceremony, and that other artists have tended to give the people's perspective, subjecting themselves to Mao's gaze.  The painting is a modern-day example of damnatio memoriae, the alteration of artworks or other objects to remove the image or name of a disfavored person.  Deng Zhangyu, in a 2014 article, called the painting "the most significant historical image of China's founding".  Wu Hung suggested that the alterations to it over the years, while always showing Mao proclaiming the new government, parallel the changes that have come to China's leadership during the years of Communist governance.  Andrews wrote that "its greatest importance to the art world was its elevation as a model of party-approved oil painting".  Writer Wu Bing in 2009 called it "a milestone in Chinese oil painting, boldly incorporating national styles".  The painting has never been as highly regarded in the West as in China; according to Andrews, "art history students have been known to roar with laughter when slides of it appear on the screen".  Art historian Michael Sullivan dismissed it as mere propaganda.  Today, following a merger of museums, both paintings are in the National Museum of China, on Tiananmen Square.

Question: What is the name of that which Michael Sullivan dismissed as mere propaganda?
Answer: The Founding of the Nation
In this quirky dark comedy Santiago Morales a former engineer, is unable to come to terms with the passing of his wife Viviana who has died of cancer. Santiago rents a room in a house as he struggles to get his financial affairs from the marriage sorted out. He quickly becomes suicidal, obsessing over his late wife by watching videos of her on an iPad and building a shrine to her in his room. Santiago is very particular and keeps things neat, tidy, and organized which leads to clashes with his housemate/landlord Murray who is a total slob and spends most of his time in his underwear in the living room of the house surrounded by trash and clutter. Santiago discovers that Murray is actually a disgraced geneticist with too much time on his hands. Murray was a rising star in the cloning field until he was caught conducting illegal experiments and was fired. He is itching to get back in the saddle so together they devise a plan involving the other housemate, Laura, to clone Santiago's dead wife and thereby bring her back to life.  Laura has just lost her waitressing job and is unable to pay her debts so when presented with a relative financial windfall for her role, she reluctantly agrees to take part in the scheme to be the surrogate for their bizarro cloning experiment.
The film is unique and offbeat as the often twisted humour is made genuinely funny by the actors. The logic and consequenses of the characters schemes seem secondary. For example, it doesn't appear to bother Santiago that his wife would be a baby and not in fact "Viviana" in any way other than genetically. In fact he misses her to such an extreme that its hard not to end up rooting for him to see her.

Question: What's the name of the deceased wife of Murray's housemate?
Answer: Viviana
In this quirky dark comedy Santiago Morales a former engineer, is unable to come to terms with the passing of his wife Viviana who has died of cancer. Santiago rents a room in a house as he struggles to get his financial affairs from the marriage sorted out. He quickly becomes suicidal, obsessing over his late wife by watching videos of her on an iPad and building a shrine to her in his room. Santiago is very particular and keeps things neat, tidy, and organized which leads to clashes with his housemate/landlord Murray who is a total slob and spends most of his time in his underwear in the living room of the house surrounded by trash and clutter. Santiago discovers that Murray is actually a disgraced geneticist with too much time on his hands. Murray was a rising star in the cloning field until he was caught conducting illegal experiments and was fired. He is itching to get back in the saddle so together they devise a plan involving the other housemate, Laura, to clone Santiago's dead wife and thereby bring her back to life.  Laura has just lost her waitressing job and is unable to pay her debts so when presented with a relative financial windfall for her role, she reluctantly agrees to take part in the scheme to be the surrogate for their bizarro cloning experiment.
The film is unique and offbeat as the often twisted humour is made genuinely funny by the actors. The logic and consequenses of the characters schemes seem secondary. For example, it doesn't appear to bother Santiago that his wife would be a baby and not in fact "Viviana" in any way other than genetically. In fact he misses her to such an extreme that its hard not to end up rooting for him to see her.

Question: What does the clone's surrogate need a financial windfall for?
Answer: to pay her debts
In this quirky dark comedy Santiago Morales a former engineer, is unable to come to terms with the passing of his wife Viviana who has died of cancer. Santiago rents a room in a house as he struggles to get his financial affairs from the marriage sorted out. He quickly becomes suicidal, obsessing over his late wife by watching videos of her on an iPad and building a shrine to her in his room. Santiago is very particular and keeps things neat, tidy, and organized which leads to clashes with his housemate/landlord Murray who is a total slob and spends most of his time in his underwear in the living room of the house surrounded by trash and clutter. Santiago discovers that Murray is actually a disgraced geneticist with too much time on his hands. Murray was a rising star in the cloning field until he was caught conducting illegal experiments and was fired. He is itching to get back in the saddle so together they devise a plan involving the other housemate, Laura, to clone Santiago's dead wife and thereby bring her back to life.  Laura has just lost her waitressing job and is unable to pay her debts so when presented with a relative financial windfall for her role, she reluctantly agrees to take part in the scheme to be the surrogate for their bizarro cloning experiment.
The film is unique and offbeat as the often twisted humour is made genuinely funny by the actors. The logic and consequenses of the characters schemes seem secondary. For example, it doesn't appear to bother Santiago that his wife would be a baby and not in fact "Viviana" in any way other than genetically. In fact he misses her to such an extreme that its hard not to end up rooting for him to see her.

Question: What did the person who lives with the former engineer and the geneticist do for a job until recently?
Answer: waitressing
In this quirky dark comedy Santiago Morales a former engineer, is unable to come to terms with the passing of his wife Viviana who has died of cancer. Santiago rents a room in a house as he struggles to get his financial affairs from the marriage sorted out. He quickly becomes suicidal, obsessing over his late wife by watching videos of her on an iPad and building a shrine to her in his room. Santiago is very particular and keeps things neat, tidy, and organized which leads to clashes with his housemate/landlord Murray who is a total slob and spends most of his time in his underwear in the living room of the house surrounded by trash and clutter. Santiago discovers that Murray is actually a disgraced geneticist with too much time on his hands. Murray was a rising star in the cloning field until he was caught conducting illegal experiments and was fired. He is itching to get back in the saddle so together they devise a plan involving the other housemate, Laura, to clone Santiago's dead wife and thereby bring her back to life.  Laura has just lost her waitressing job and is unable to pay her debts so when presented with a relative financial windfall for her role, she reluctantly agrees to take part in the scheme to be the surrogate for their bizarro cloning experiment.
The film is unique and offbeat as the often twisted humour is made genuinely funny by the actors. The logic and consequenses of the characters schemes seem secondary. For example, it doesn't appear to bother Santiago that his wife would be a baby and not in fact "Viviana" in any way other than genetically. In fact he misses her to such an extreme that its hard not to end up rooting for him to see her.

Question: Who has a roommate that recently lost his wife?
Answer: Murray, Laura
In this quirky dark comedy Santiago Morales a former engineer, is unable to come to terms with the passing of his wife Viviana who has died of cancer. Santiago rents a room in a house as he struggles to get his financial affairs from the marriage sorted out. He quickly becomes suicidal, obsessing over his late wife by watching videos of her on an iPad and building a shrine to her in his room. Santiago is very particular and keeps things neat, tidy, and organized which leads to clashes with his housemate/landlord Murray who is a total slob and spends most of his time in his underwear in the living room of the house surrounded by trash and clutter. Santiago discovers that Murray is actually a disgraced geneticist with too much time on his hands. Murray was a rising star in the cloning field until he was caught conducting illegal experiments and was fired. He is itching to get back in the saddle so together they devise a plan involving the other housemate, Laura, to clone Santiago's dead wife and thereby bring her back to life.  Laura has just lost her waitressing job and is unable to pay her debts so when presented with a relative financial windfall for her role, she reluctantly agrees to take part in the scheme to be the surrogate for their bizarro cloning experiment.
The film is unique and offbeat as the often twisted humour is made genuinely funny by the actors. The logic and consequenses of the characters schemes seem secondary. For example, it doesn't appear to bother Santiago that his wife would be a baby and not in fact "Viviana" in any way other than genetically. In fact he misses her to such an extreme that its hard not to end up rooting for him to see her.

Question: Why did the landlord lose his job?
Answer: he was caught conducting illegal experiments
In this quirky dark comedy Santiago Morales a former engineer, is unable to come to terms with the passing of his wife Viviana who has died of cancer. Santiago rents a room in a house as he struggles to get his financial affairs from the marriage sorted out. He quickly becomes suicidal, obsessing over his late wife by watching videos of her on an iPad and building a shrine to her in his room. Santiago is very particular and keeps things neat, tidy, and organized which leads to clashes with his housemate/landlord Murray who is a total slob and spends most of his time in his underwear in the living room of the house surrounded by trash and clutter. Santiago discovers that Murray is actually a disgraced geneticist with too much time on his hands. Murray was a rising star in the cloning field until he was caught conducting illegal experiments and was fired. He is itching to get back in the saddle so together they devise a plan involving the other housemate, Laura, to clone Santiago's dead wife and thereby bring her back to life.  Laura has just lost her waitressing job and is unable to pay her debts so when presented with a relative financial windfall for her role, she reluctantly agrees to take part in the scheme to be the surrogate for their bizarro cloning experiment.
The film is unique and offbeat as the often twisted humour is made genuinely funny by the actors. The logic and consequenses of the characters schemes seem secondary. For example, it doesn't appear to bother Santiago that his wife would be a baby and not in fact "Viviana" in any way other than genetically. In fact he misses her to such an extreme that its hard not to end up rooting for him to see her.

Question: What is the name of the person Santiago builds a shrine to?
Answer: Viviana
In this quirky dark comedy Santiago Morales a former engineer, is unable to come to terms with the passing of his wife Viviana who has died of cancer. Santiago rents a room in a house as he struggles to get his financial affairs from the marriage sorted out. He quickly becomes suicidal, obsessing over his late wife by watching videos of her on an iPad and building a shrine to her in his room. Santiago is very particular and keeps things neat, tidy, and organized which leads to clashes with his housemate/landlord Murray who is a total slob and spends most of his time in his underwear in the living room of the house surrounded by trash and clutter. Santiago discovers that Murray is actually a disgraced geneticist with too much time on his hands. Murray was a rising star in the cloning field until he was caught conducting illegal experiments and was fired. He is itching to get back in the saddle so together they devise a plan involving the other housemate, Laura, to clone Santiago's dead wife and thereby bring her back to life.  Laura has just lost her waitressing job and is unable to pay her debts so when presented with a relative financial windfall for her role, she reluctantly agrees to take part in the scheme to be the surrogate for their bizarro cloning experiment.
The film is unique and offbeat as the often twisted humour is made genuinely funny by the actors. The logic and consequenses of the characters schemes seem secondary. For example, it doesn't appear to bother Santiago that his wife would be a baby and not in fact "Viviana" in any way other than genetically. In fact he misses her to such an extreme that its hard not to end up rooting for him to see her.

Question: What is the name of the person who is being cloned?
Answer: Viviana
In this quirky dark comedy Santiago Morales a former engineer, is unable to come to terms with the passing of his wife Viviana who has died of cancer. Santiago rents a room in a house as he struggles to get his financial affairs from the marriage sorted out. He quickly becomes suicidal, obsessing over his late wife by watching videos of her on an iPad and building a shrine to her in his room. Santiago is very particular and keeps things neat, tidy, and organized which leads to clashes with his housemate/landlord Murray who is a total slob and spends most of his time in his underwear in the living room of the house surrounded by trash and clutter. Santiago discovers that Murray is actually a disgraced geneticist with too much time on his hands. Murray was a rising star in the cloning field until he was caught conducting illegal experiments and was fired. He is itching to get back in the saddle so together they devise a plan involving the other housemate, Laura, to clone Santiago's dead wife and thereby bring her back to life.  Laura has just lost her waitressing job and is unable to pay her debts so when presented with a relative financial windfall for her role, she reluctantly agrees to take part in the scheme to be the surrogate for their bizarro cloning experiment.
The film is unique and offbeat as the often twisted humour is made genuinely funny by the actors. The logic and consequenses of the characters schemes seem secondary. For example, it doesn't appear to bother Santiago that his wife would be a baby and not in fact "Viviana" in any way other than genetically. In fact he misses her to such an extreme that its hard not to end up rooting for him to see her.

Question: What is the landlord's former profession?
Answer: geneticist
Two pairs of friends, Matteo and Francesca & Shary and Diego, decide to spend the summer together in a beach house at the foot of Mount Circeo. Matteo,  a psychologist, is married to Francesca with whom he has a five-year-old girl, Elena. Diego and Shary have a less stable relationship, having a son together, David, who attends college in the United States. David comes to Italy for the first time in five years to spend time with his family and celebrate his birthday. Upon David's arrival, he and Matteo begin to develop feelings for each other. Only Leonard, Shary's brother, who has returned from his travels around the world to spend some time with the two pairs, seems to sense what is happening. The balance of Matteo's marriage begins to crack, and the growing tension seems to corrode the two families. While the rest of the household is out preparing for David's birthday party, Matteo goes to David's bedroom, and they have sex.  When Francesca returns, she has no front-door keys and enters the house through a patio door into David's room where she finds the two men having sex.  She runs out, and Matteo runs after her.  She dashes around a corner and into the street where she is hit and killed by a car. Later, Matteo, Shary, Diego, and David are having supper. Shary asks Matteo accusingly where he was at the time of the accident, and the movie ends as he begins to cry from guilt.

Question: What is the name of the person who is hit and killed by a car?
Answer: Francesca
Two pairs of friends, Matteo and Francesca & Shary and Diego, decide to spend the summer together in a beach house at the foot of Mount Circeo. Matteo,  a psychologist, is married to Francesca with whom he has a five-year-old girl, Elena. Diego and Shary have a less stable relationship, having a son together, David, who attends college in the United States. David comes to Italy for the first time in five years to spend time with his family and celebrate his birthday. Upon David's arrival, he and Matteo begin to develop feelings for each other. Only Leonard, Shary's brother, who has returned from his travels around the world to spend some time with the two pairs, seems to sense what is happening. The balance of Matteo's marriage begins to crack, and the growing tension seems to corrode the two families. While the rest of the household is out preparing for David's birthday party, Matteo goes to David's bedroom, and they have sex.  When Francesca returns, she has no front-door keys and enters the house through a patio door into David's room where she finds the two men having sex.  She runs out, and Matteo runs after her.  She dashes around a corner and into the street where she is hit and killed by a car. Later, Matteo, Shary, Diego, and David are having supper. Shary asks Matteo accusingly where he was at the time of the accident, and the movie ends as he begins to cry from guilt.

Question: What are the names of everyone David is related to mentioned in the story?
Answer: Diego, Shary, Leonard