Question: Do both directors of films The House Of Mirth (1918 Film) and Kapo (1960 Film) have the same nationality?

<P0-S0> It was nominated for the Academy Award as Best Foreign Language Film. <P0-S1> It was an Italian- French co-production filmed in Yugoslavia. <P0-S2> Kapò is a 1960 Italian film about the Holocaust directed by Gillo Pontecorvo. <SEP> <P1-S0> The House of Mirth is a 2000 drama film written and directed by Terence Davies. <P1-S1> An adaptation of Edith Wharton's 1905 novel" The House of Mirth", the film stars Gillian Anderson. <P1-S2> It is an international co-production between the United Kingdom, Germany, and United States. <SEP> <P2-S0> Gillo Pontecorvo( 19 November 1919 – 12 October 2006) was an Italian filmmaker. <P2-S1> He worked as a film director for more than a decade before his best known film" La battaglia di Algeri The Battle of Algiers", 1966) was released. <P2-S2> It won the Golden Lion at the Venice Film Festival in 1966. <P2-S3> His other films include" Kapò"( 1960), which takes place in a World War II concentration camp, and" Burn! Queimada", 1969), starring Marlon Brando and loosely based on the failed slave revolution in Guadeloupe. <P2-S4> In 2000, he received the Pietro Bianchi Award at the Venice Film Festival. <P2-S5> He was also a screenwriter and composer of film scores, and a close friend of Italian President Giorgio Napolitano. <SEP> <P3-S0> Carmen Mory (2 July 1906 – 9 April 1947) was a Swiss-Nazi German spy and kapo in the Ravensbrück concentration camp. <P3-S1> She was sentenced to death in the Hamburg Ravensbrück trials in 1947. <SEP> <P4-S0> It is a cinema adaptation of Edith Wharton's 1905 novel" The House of Mirth" and the first- ever cinema adaptation of any of her work. <P4-S1> Metro Pictures put many efforts into the film in order to turn the original novel into an" All- star cast" film to earn popularity, as Metro Pictures itself announced that the film was" one of the most important productions" during 1918, and that the film contained" the strongest and the most distinguished cast ever selected for the screen". <P4-S2> Initially, Emmy Wehlen starred in the role of Lily Bart in the film. <P4-S3> Later, she was replaced by Katherine Harris Barrymore. <P4-S4> The House of Mirth is a 1918 American silent melodrama film directed by French film director Albert Capellani, starring Katherine Harris Barrymore as Lily Bart. <P4-S5> The film contributed to the huge success of Metro Pictures that year. <P4-S6> It is not known whether the film currently survives. <SEP> <P5-S0> He directed films between 1905 and 1922. <P5-S1> One of his brother was the actor-sculptor Paul Capellani. and another the film director Roger Capellani. <P5-S2> Starting his career as an actor, he worked with the director André Antoine at the Théâtre Libre and the Odéon. <P5-S3> He then began directing plays for the Odéon, working alongside the lauded actor and director. <P5-S4> He continued to work as an actor and director until he received a job offer from the Pathé Frères studio in 1905. <P5-S5> During his Pathé career, he worked as an adviser and supervisor to various directors, including Michel Carré, Georges Denola, Henri Étiévant, and Georges Monca. <P5-S6> He often drew upon his theatrical background to cast stage actor colleagues for his films, such as Henry Krauss, who appeared as Quasimodo in his" The Hunchback of Notre Dame"( 1911) and as Jean Valjean in his( 1912). <P5-S7> " Les Misérables" also gave the actress Mistinguett her first important screen role. <P5-S8> Albert Capellani( 23 August 1874 – 26 September 1931) was a French film director and screenwriter of the silent era. <P5-S9> His films cover many genres, including melodramas, fairy tales, costume dramas with historical and biblical themes, and literary adaptations, especially after taking up directorship of SCAGL in 1908. <P5-S10> Characteristics of his style include a keen sense for staging actors in three- dimensional space, dynamic use of location filming, and an attention to subtle, realistic details that highlight the humanity of his characters. <P5-S11> He was released from duty but because of the war was unable to direct films in France. <P5-S12> Capellani returned to France in 1923, where he floated several new film projects but was unable to bring any to fruition.