Question: Do both Can Dialectics Break Bricks? and The Conjure Woman (film) films have the directors from the same country?

<P0-S0> The Girls of Kamare(" Les Filles de Kamare")( 1974) is a Situationist film by René Viénet. <P0-S1> Unlike Viénet's previous work," Can dialectics break bricks?"( 1973)," The Girls of Kamare" includes original 16 mm hardcore inserts shot by Viénet. <P0-S2> The title is a pun on the famous french bawdy song Les Filles de Camaret. <P0-S3> The film is the detournement of the Tōei" sukeban" film( 1972) directed by Norifumi Suzuki. <P0-S4> The title of the original film is given as" Une petite culotte pour l'été", director credited as" Suzuki Noribumi". <P0-S5> Opening credits are taken from the 1973 film" Female Yakuza Tale: Inquisition and Torture" of Teruo Ishii. <P0-S6> While" Can dialectics break bricks?" was essentially a dub parody, the film keeps the original Japanese sound track with indelicate French subtitles. <P0-S7> The plot follows a team of female heroes, forced into a disciplinary school, who revolt against the authorities and their assistants. <P0-S8> The original Japanese film ends in a successful riot which plays directly into Viénet's detournement. <P0-S9> Unlike" Dialectics The Girls of Kamare" is less self- critical and relies more on traditional conceptions of heroism. <SEP> <P1-S0> Viénet used the situationist technique of détournement — the diversion of already existing cultural elements to new subversive purposes. <P1-S1> René Viénet( born 6 February 1944 in Le Havre) is a French sinologist who is famous as a situationist writer and filmmaker. <SEP> <P2-S0> Oscar Devereaux Micheaux( January 2, 1884 – March 25, 1951) was an African- American author, film director and independent producer of more than 44 films. <P2-S1> Although the short- lived Lincoln Motion Picture Company was the first movie company owned and controlled by black filmmakers, Micheaux is regarded as the first major African- American feature filmmaker, a prominent producer of race film, and has been described as" the most successful African- American filmmaker of the first half of the 20th century". <P2-S2> He produced both silent films and sound films when the industry changed to incorporate speaking actors. <SEP> <P3-S0> A race film featuring an African- American cast and catering to an African- American audience, it stars Evelyn Preer and Lawrence Chenault. <P3-S1> The Conjure Woman is a 1926 silent film directed, written, produced and distributed by Oscar Micheaux. <P3-S2> It is based on American writer Charles W. Chesnutt's 1899 short story collection of the same name. <P3-S3> No print of the film has been located and it is presumed to be a lost film. <SEP> <P4-S0> For its visuals the film uses 1972 martial arts film" Crush" by Tu Guangqi, which tells the story of anti-colonialist revolt in Korea during the period of Japanese occupation. <P4-S1> The source film was dubbed over by the filmmakers as an example of détournement. <P4-S2> Viénet's intention was to adapt a" spectacular" film typical of the film industry to the purposes of a radical critique of cultural hegemony and thus an expression of subversive revolutionary ideals. <P4-S3> The narrative focuses on a conflict between proletarians and bureaucrats within state capitalism. <P4-S4> The proletarians enlist their grasp of dialectics in the fight against their oppressors, while the bureaucrats defend themselves using a combination of co-optation and violence. <P4-S5> The film is noted for its humorous approach to this subject matter. <P4-S6> La dialectique peut- elle casser des briques?, in English," Can Dialectics Break Bricks?", is a 1973 Situationist film produced by the French director René Viénet which explores the development of class conflict through revolutionary agitation against a backdrop of graphic kung- fu fighting. <P4-S7> The film also contains numerous celebratory references to revolutionaries who fought for the realisation of a post-capitalist world, including Marx, Bakunin, and Wilhelm Reich, as well as scathing criticism directed toward the French Communist Party, trade unionism and Maoism. <P4-S8> Subplots dealing with issues of gender equality, alienation, the Paris Commune, May 1968 and situationist politics itself are riddled throughout the film. <SEP> <P5-S0> Mark Lewis( born 1958 in Mullumbimby, Australia) is an Australian documentary film and television producer, director and writer. <P5-S1> He is famous for his film and for his body of work on animals. <P5-S2> Unlike many other producers of nature films, his films do not attempt to document the animals in question or their behaviors but rather the complex relationships between people and society and the animals they interact with. <P5-S3> His films have earned him many awards, including a British Academy Award nomination, a nomination from the Directors Guild of America, two Emmy ’s for Outstanding Direction in documentary film, and an Emmy Award for Outstanding Science Program on American Television.