Question: Are the directors of films Shirin (Film) and The Midnight Girl both from the same country?

<P0-S0> The Midnight Riders is the independent supporters group for the New England Revolution of Major League Soccer. <P0-S1> The name refers to the Midnight Ride of Paul Revere at the beginning of the American Revolutionary War. <P0-S2> The main aim of the Midnight Riders “ is to form a network of supporters such that( they) can meet, watch, travel to, and discuss games, and have a collective voice for supporters' interests with Revolution management. ” <P0-S3> The Midnight Riders are viewed as “ the most passionate Revolution followers ”, have been around since the inception of the league, and are known for their use of chants, singing, drums, and banners to show their support for the team and lead others in doing so. <P0-S4> The main colors worn amongst The Midnight Riders are dark blue and white( often jerseys of New England Revolution players). <P0-S5> The majority of the Midnight Riders sit in the north stand of the stadium( section 143) and have a banner hanging across the front of this section. <P0-S6> In addition to their game time activities <P0-S7> The Midnight Riders are responsible for hosting and participating in charitable events, organizing road trips to away games, and awarding an annual “ Man of the Year ” award. <SEP> <P1-S0> The film is considered by some critics as a notable twist in the artistic career of Kiarostami. <P1-S1> The film features close- ups of many notable Iranian actresses and French actress Juliette Binoche as they watch a film based on a part mythological Persian romance tale of Khosrow and Shirin, with themes of female self- sacrifice. <P1-S2> The film has been described as" a compelling exploration of the relationship between image, sound and female spectatorship." <P1-S3> The film depicts the audience's emotional involvement with the story. <P1-S4> The story is read between the tragic and kitsch by a cast of narrators led by Manoucher Esmaieli and is accompanied by a historical" film score" by Morteza Hananeh and Hossein Dehlavi. <P1-S5> The film's production is replete with curious anecdotes. <P1-S6> According to some reports, the women were filmed individually in Kiarostami's living room, with the director asking them to cast their gaze at a mere series of dots above the camera. <P1-S7> The director has also stated that, during the filming process, he had no idea what film they were watching, and settled on the Khosrow and Shirin myth only after shooting had concluded. <P1-S8> In" Taste of Shirin"( 2008, 27 minutes), a documentary by Hamideh Razavi on the making of the film, one can see how the film really was shot. <P1-S9> The brief appearance of Juliette Binoche in the film came as the result of her role in another Kiarostami project. <P1-S10> Shirin is a 2008 film directed by Iranian filmmaker Abbas Kiarostami. <P1-S11> It was first screened at the 65th Venice International Film Festival. <SEP> <P2-S0> The Midnight Girl is a 1925 American drama film directed by Wilfred Noy, starring Lila Lee and featuring Béla Lugosi. <SEP> <P3-S0> An active film- maker from 1970, Kiarostami had been involved in the production of over forty films, including shorts and documentaries. <P3-S1> Kiarostami attained critical acclaim for directing the" Koker" trilogy( 1987– 1994)," Close- Up"( 1990)," The Wind Will Carry Us"( 1999), and" Taste of Cherry"( 1997), which was awarded the Palme d' Or at the Cannes Film Festival that year. <P3-S2> In later works," Certified Copy"( 2010) and" Like Someone in Love"( 2012), he filmed for the first time outside Iran: in Italy and Japan, respectively. <P3-S3> His films" Where Is the Friend ’s Home? Close- Up", and" The Wind Will Carry Us" were ranked among the 100 best foreign films in a 2018 critics' poll by BBC Culture. <P3-S4> " Close- Up" was also ranked one of the 50 greatest movies of all time in the famous decennial" Sight& Sound" poll conducted in 2012. <P3-S5> Kiarostami had worked extensively as a screenwriter, film editor, art director and producer and had designed credit titles and publicity material. <P3-S6> He was also a poet, photographer, painter, illustrator, and graphic designer. <P3-S7> He was part of a generation of filmmakers in the Iranian New Wave, a Persian cinema movement that started in the late 1960s and includes pioneering directors such as Bahram Beyzai, Nasser Taghvai, Ali Hatami, Masoud Kimiai, Dariush Mehrjui, Sohrab Shahid- Saless and Parviz Kimiavi. <P3-S8> These filmmakers share many common techniques including the use of poetic dialogue and allegorical storytelling dealing with political and philosophical issues. <P3-S9> Kiarostami had a reputation for using child protagonists, for documentary- style narrative films, for stories that take place in rural villages, and for conversations that unfold inside cars, using stationary mounted cameras. <P3-S10> He is also known for his use of Persian poetry in the dialogue, titles, and themes of his films. <P3-S11> Kiarostami's films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements. <P3-S12> The concepts of change and continuity, in addition to the themes of life and death, play a major role in Kiarostami's works. <P3-S13> Abbas Kiarostami( 22 June 1940 – 4 July 2016) was an Iranian film director, screenwriter, poet, photographer, and film producer. <SEP> <P4-S0> The Midnight Office(" Mesonýtikon"; Slavonic: Полунощница," Polúnoshnitsa") is one of the Canonical Hours that compose the cycle of daily worship in the Eastern Orthodox Church. <P4-S1> The office originated as a purely monastic devotion inspired by Psalm 118:62," At midnight I arose to give thanks unto Thee for the judgments of Thy righteousness"( LXX), and also by the Gospel Parable of the Wise and Foolish Virgins. <P4-S2> The name of the Midnight Office is sometimes erroneously translated as" Nocturns"; but this is misleading, as in the West" Nocturn" refers to a division within the completely different office of Matins. <P4-S3> Originally, monks would rise in the middle of the night to sing praises to God. <P4-S4> Saint Symeon the New Theologian mentions Psalm 118, a significant component of the Midnight Office on weekdays, being said privately in the cells before Matins. <P4-S5> Today, in most places where the Daily Cycle is observed, the Midnight Office is combined with Matins and the First Hour into one of the three daily aggregates called for in the Typikon. <P4-S6> Concerning the Midnight Office, Saint Mark of Ephesus says:" The beginning of all the hymns and prayers to God is the time(" kairos") of the midnight prayer. <P4-S7> For, rising from sleep for it, we signify the transportation from the life of the deceit of darkness to the life which is, according to Christ, free and bright, with which we begin to worship God. <P4-S8> For it is written," The people who sat in darkness saw a great light( and). <P4-S9> The general tone of the office is one of penitence, tempered by an attitude of hopeful expectation. <P4-S10> In the Russian tradition the Midnight Office often begins with the reading of the Morning Prayers in common, which otherwise would be said privately by the brethren in their cells. <P4-S11> At the conclusion of the Midnight Office, just as at the end of Compline, it is traditional in many places for everyone present to venerate the icons and relics of the saints that are present in the temple( church building). <P4-S12> In Greek Prayer Books, a modified form of the Midnight Office is used for Morning Prayers for laymen, while a modified form of Small Compline is used for evening prayers. <SEP> <P5-S0> In 1925 he went to the United States to make "The Lost Chord", a remake of one of his earlier British hits. <P5-S1> Wilfred Noy (born Wilfred Noy Blumberg, 24 December 1883 – 29 March 1948) was an English film director, actor, screenwriter and producer of the silent era. <P5-S2> Noy was the maternal uncle of Leslie Howard. <P5-S3> He directed 89 films between 1910 and 1936. <P5-S4> He also appeared in 18 films between 1924 and 1939. <P5-S5> He stayed to make several more films in America during the late 1920s before returning to Britain. <P5-S6> He was born in South Kensington, London and died in Worthing, Sussex.