Question: Which film has the director who was born later, Eaux d'Artifice or The Thirteenth Chair (1919 film)?

<P0-S0> It was based on a play of the same name by Bayard Veiller. <P0-S1> The Thirteenth Chair is a 1919 American silent mystery film directed by Léonce Perret and starring Yvonne Delva, Creighton Hale and Marie Shotwell. <P0-S2> Subsequent film adaptations were made in 1929 as" The Thirteenth Chair" and 1937 again under the same title. <SEP> <P1-S0> Working exclusively in short films, he has produced almost forty works since 1937, nine of which have been grouped together as the" Magick Lantern Cycle". <P1-S1> His films variously merge surrealism with homoeroticism and the occult, and have been described as containing" elements of erotica, documentary, psychodrama, and spectacle". <P1-S2> Kenneth Anger( born Kenneth Wilbur Anglemyer, February 3, 1927) is an American underground experimental filmmaker, actor and author. <P1-S3> Anger himself has been described as" one of America's first openly gay filmmakers, and certainly the first whose work addressed homosexuality in an undisguised, self- implicating manner", and his" role in rendering gay culture visible within American cinema, commercial or otherwise, is impossible to overestimate", with several being released prior to the legalization of homosexual acts between consenting adults in the United States. <P1-S4> Born to a middle- class family in Santa Monica, California, Anger would later claim to have been a child actor who appeared in the film" A Midsummer Night's Dream"( 1935); the accuracy of this claim has come under dispute. <P1-S5> The controversial nature of the work led to him being put on trial on obscenity charges, but he was acquitted. <P1-S6> A friendship and working relationship began subsequently with pioneering sexologist Alfred Kinsey. <P1-S7> Moving to Europe, Anger produced a number of other shorts inspired by the artistic avant- garde scene on the continent, such as" Rabbit's Moon"( released 1970) and" Eaux d' Artifice"( 1953). <P1-S8> The latter would become infamous for its many dubious and sensationalist claims, many of which were later disproven, though some do remain as urban legends. <P1-S9> Following his failure to produce a sequel to" Lucifer Rising", which he attempted through the mid-1980s, Anger retired from filmmaking, instead focusing on" Hollywood Babylon II"( 1984). <P1-S10> At the dawn of the 21st century he once more returned to filmmaking, producing shorts for various film festivals and events. <P1-S11> Anger has described filmmakers such as Auguste and Louis Lumière, Georges Méliès, and Maya Deren as influences, and has been cited as an important influence on later film directors like Martin Scorsese, David Lynch and John Waters. <SEP> <P2-S0> He also worked as a stage actor and director. <P2-S1> Often described as avant-garde for his unorthodox directing methods, Léonce Perret introduced innovative camera, lighting and film scoring techniques to French cinema. <P2-S2> Léonce Perret began his career as a relatively undistinguished stage actor. <P2-S3> He was recruited to the film industry by the Gaumont Film Company. <P2-S4> His numerous short films gained significant accolade in French cinematography. <P2-S5> Until his emigration to the United States in 1917, he was a fixture of the Gaumont Film Company. <P2-S6> Léonce Joseph Perret (14 March 1880 – 12 August 1935) was a prolific and innovative French film actor, director and producer. <P2-S7> On American soil, he produced several popular films, the most notable being "Lest We ForgetN'oublions jamais") in 1918. <P2-S8> After returning to France, he directed the successful "Koenigsmark" in 1923. <P2-S9> His film "Madame Sans-Gêne" (1925), starring Gloria Swanson, was the first joint Franco-American film production. <P2-S10> In addition, Léonce Perret collaborated with many of the French and American idols of his generation such as Abel Gance, Gloria Swanson, Gaby Morlay, René Cresté, Arletty, Suzanne Grandais, Mae Murray, and Huguette Duflos. <SEP> <P3-S0> The Thirteenth Chair is a 1929 American pre-Code mystery film directed by Tod Browning. <P3-S1> The picture is based on a 1916 play of the same name by Bayard Veiller. <P3-S2> It stars Conrad Nagel, Leila Hyams and Margaret Wycherly. <P3-S3> The supporting cast features Bela Lugosi, whom Browning would direct as" Dracula" two years later. <P3-S4> The film was one of many released in both a sound film and a silent film version. <P3-S5> TCM aired the sound version on August 22, 2019. <P3-S6> An earlier version of the film, starring Creighton Hale, was made in 1919 by ACME/ Pathe Exchange, directed by Leonce Perret. <P3-S7> In 1937, the film was again remade by MGM, entitled" The Thirteenth Chair", starring Elissa Landi and Dame May Whitty. <SEP> <P4-S0> W. Augustus Barratt( 1873- 1947) was a Scottish- born, later American, songwriter and musician. <SEP> <P5-S0> The film was shot in the Villa d' Este in Tivoli, Italy. <P5-S1> The film consists entirely of a woman dressed in eighteenth- century clothes who wanders amidst the garden fountains of the Villa d' Este(" a Hide and Seek in a night- time labyrinth") to the sounds of Vivaldi's" Four Seasons", until she steps into a fountain and momentarily disappears. <P5-S2> The actress, Carmilla Salvatorelli( not" Carmello"), was" a little midget" Anger had met through Federico Fellini. <P5-S3> Eaux d'artifice( 1953) is a short experimental film by Kenneth Anger. <P5-S4> Anger used a short actress to suggest a different sense of scale, whereby the monuments seemed bigger( a technique he said was inspired by etchings of the gardens in the Villa d' Este by Giovanni Battista Piranesi). <P5-S5> The title, a play on words, is meant to suggest" Feux d'artificeFireworks"), in obvious reference to Anger's earlier 1947 work. <P5-S6> Film critic Scott MacDonald has suggested that" Fireworks" was a film about the repression of( the film- maker's) homosexuality in the United States, whereas" Eaux d' Artificesuggests an explosion of pleasure and freedom." <P5-S7> In 1993, this short film was selected for preservation in the United States National Film Registry by the Library of Congress as being" culturally, historically, or aesthetically significant".