Question: Given the below context: The film highlights three different stories. These stories unfold over the course of nine months. Two couples live completely opposite lives of each other, yet share one commonality: an unexpected pregnancy. The main characters, Carmine and Sasha live in a carefree and comfortable world and the arrival of a child shakes up their conventional life: behind their illusion of a fancy condominium and their successful careers hides a couple that is living in pain, secrets and lies. Simultaneously, the other couple within the film, Justine and Seb are freedom seekers that live day by day on the streets of Montreal. These two young squeegee kids live in hopes of a better future, but in the meantime seem to be content with part-time jobs; such as washing windshields and doing small-time deals. Justine's pregnancy catches Seb off guard as he is not ready to be a father. The history of violence in their relationship makes getting an abortion the obvious choice, however things worsen and turn out differently. In the third story, Stephen Decker is a 50-something father who has lost everything, his wife, his only child, and his inner peace. Now he has found a new purpose for his life: revenge, which brings him from Calgary to Montreal as he attempts to hunt down his daughter's murderer. What he finds is far from what he expected, and five destinies converge, for better and for worse. Guess a valid title for it!
Answer: 3 Seasons
[Q]: Given the below context: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Academie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymedeat the time thought to be by Titianin one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his... Guess a valid title for it!
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[A]: William Etty
input: Please answer the following: Given the below context: Euliss F. "Sonny" Dewey is a charismatic Pentecostal preacher. His wife Jessie has begun an adulterous relationship with a youth minister named Horace. She refuses Sonny's desire to reconcile, although she assures him that she will not interfere with his right to see his children. She has also conspired to use their church's bylaws to have him removed from power. Sonny asks God what to do but receives no answer. Much of the congregation sides with Jessie in this dispute. Sonny, however, refuses to start a new church, insisting that the one which forced him out was "his" church. At his child's Little League game, Sonny, in an emotional and drunken fit, attacks Horace with a bat and puts him into a coma; Horace later dies. A fleeing Sonny ditches his car in a river and gets rid of all identifying information. After destroying all evidence of his past, Sonny rebaptizes himself and anoints himself as "The Apostle E. F." He leaves Texas and ends up in the bayous of Louisiana, where he persuades a retired minister named Blackwell to help him start a new church. He works various odd jobs and uses the money to build the church, and to buy time to preach on a local radio station. Sonny also begins dating the station's receptionist. With Sonny's energy and charisma, the church soon has a faithful and racially integrated flock. Sonny even succeeds in converting a racist construction worker who shows up at a church picnic intent on destruction. While at work in a local diner, Sonny sees his new girlfriend out in public with her husband and children, apparently reconciled. Sonny walks out, vowing never to return there. Guess a valid title for it!
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output: The Apostle
input: Please answer the following: Given the below context: Farsari and other 19th-century commercial photographers generally concentrated on two types of subject matter: the scenery of Japan and the "manners and customs" of its inhabitants. Such subjects, and the ways in which they were literally and figuratively framed, were chosen to appeal to foreign taste; and the reason for this, apart from the photographer's individual aesthetics, vision and preconceptions, had much to do with economics. Photographs were expensive to make and accordingly expensive to buy. In 1870s Japan, a portrait photograph usually cost half a ryo "per head", about a month's pay for an artisan. Given such pricing, few Japanese could afford photographs and a photographer's clientele was largely drawn from the foreign residents of the European and American enclaves: colonial administrators, missionaries, merchants and the military. By the early 1870s, tourists had joined their number. To appeal to this clientele, photographers often staged and contrived the scenes they photographed, particularly the portraits depicting "manners and customs".In 1885, Charles J. S. Makin used some of Farsari's views to illustrate his travel account Land of the Rising Sun, Being a Short Account of Japan and the Japanese. As photomechanical printing was still in its infancy, it was common for artists and illustrators to create works derived from photographs. For example, Charles Wirgman's numerous engravings for the Illustrated London News were made from views by Wirgman's friend and sometime partner Felice Beato. Occasionally the link between a work of art and its photographic source material was less overt: Louis-Jules Dumoulin's 1888 oil painting Boys' Festival from the Bluff, Yokohama [sic] (now called Carp Banners in Kyoto) draws heavily from Farsari's photograph Gionmachi, Kioto (now often called View of Shijo-dori, Kyoto); although the painted image strongly resembles the photographic source, the location of the subject has been changed in the title. During the era of the collodion process, before the... Guess a valid title for it!
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output:
Adolfo Farsari 2