Question: Do both Hridayathil Sookshikkan and Divine Horsemen: The Living Gods Of Haiti films have the directors from the same country?

<P0-S0> Jacques-Victor Henry, Prince Royal of Haiti (3 March 1804 – 18 October 1820) was the heir apparent to the throne of the Kingdom of Haiti. <P0-S1> He was the youngest child of Henri Christophe, then a general in the Haitian Army, by his wife Marie-Louise Coidavid. <P0-S2> His father became President of the state of Haiti in 1807, and on March 28, 1811 he was proclaimed King of Haiti. <P0-S3> The Prince Royal had two older brothers who both died before the proclamation of the kingdom, so he became the heir apparent with the title Prince Royal of Haiti, which came with the style of Royal Highness. <P0-S4> Following the death of his father on October 8, 1820, the Prince Royal should have been proclaimed as King Henry II of Haiti, but the country was already in turmoil and he never had a chance. <P0-S5> Ten days later, he was killed after being bayoneted by revolutionaries at the Sans-Souci Palace. <SEP> <P1-S0> Produced by Bose Varghese, the film had Kunchacko Boban and Bhavana playing the main characters. <P1-S1> Hridayathil Sookshikkan (English: To keep safe in your heart) is a 2005 Malayalam romance film directed by debutant Rajesh Pillai. <P1-S2> The plot was loosely based on the 2000 American film "Meet the Parents". <P1-S3> The film's soundtrack was composed by Mohan Sitara. <SEP> <P2-S0> It is about dance and possession in Haitian vodou that was shot by experimental filmmaker Maya Deren between 1947 and 1954. <P2-S1> Divine Horsemen: <P2-S2> The Living Gods of Haiti( 1985) is a black- and- white documentary film of approximately 52 minutes. <P2-S3> In 1981, twenty years after Deren's death, the film was completed by Deren's third husband Teiji Ito( 1935- 1982) and his wife Cherel Winett Ito( 1947- 1999). <P2-S4> Most of the film consists of images of dancing and bodies in motion during rituals in Rada and Petro services. <P2-S5> Deren had studied dance as well as photography and filmmaking. <P2-S6> She originally went to Haiti, with the funding from a Guggenheim fellowship, and the stated intention of filming the dancing that forms a crucial part of the vodou ceremony. <P2-S7> In 1953, Deren's book" Divine Horsemen: The Voodoo Gods of Haiti", on the subject of vodou, was published by Vanguard Press. <P2-S8> The film that resulted, however, reflected Deren's increasing personal engagement with vodou and its practitioners( Wilcken, 1986). <P2-S9> While this ultimately resulted in Deren disregarding the guidelines of the fellowship, Deren was able to record scenes that probably would have been inaccessible to other filmmakers. <P2-S10> Deren's original notes, film footage, and wire recordings are in the Maya Deren Collection at Boston University's Howard Gotlieb Archival Research Center and at Anthology Film Archives. <SEP> <P3-S0> Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer, and photographer. <P3-S1> The function of film, Deren believed, was to create an experience. <P3-S2> She combined her expertise in dance and choreography, ethnography, the African spirit religion of Haitian Vodou, symbolist poetry and gestalt psychology( student of Kurt Koffka) in a series of perceptual, black- and- white short films. <P3-S3> Using editing, multiple exposures, jump- cutting, superimposition, slow- motion, and other camera techniques to her advantage, Deren abandoned established notions of physical space and time, in carefully planned films with specific conceptual aims. <P3-S4> " Meshes of the Afternoon"( 1943), her collaboration with Alexander Hammid, has been one of the most influential experimental films in American cinema history. <P3-S5> Maya Deren( April 29, 1917 – October 13, 1961), born Eleonora Derenkowska, was a Ukrainian- born American experimental filmmaker and important promoter of the avant- garde in the 1940s and 1950s. <P3-S6> She went on to make several films of her own, including" At Land"( 1944)," A Study in Choreography for Camera"( 1945), and" Ritual in Transfigured Time"( 1946), writing, producing, directing, editing, and photographing them with help from only one other person, Hella Heyman, her camerawoman. <SEP> <P4-S0> He is credited with setting a new trend in Malayalam cinema with his thriller, "Traffic" (2011). <P4-S1> Rajesh Pillai made his directional debut with "Hridayathil Sookshikkan" (2005) which turned out to be a commercial and critical failure. <P4-S2> His second film "Traffic", written by brothers Bobby and Sanjay was released in 2011. <P4-S3> The film has its narrative in a hyperlink format is inspired from an actual event that happened in Chennai. <P4-S4> The film was a notable success and is widely regarded as one of the defining movies of the Malayalam New Wave. <P4-S5> In August 2012, the director announced his next movie titled "Motorcycle Diaries". <P4-S6> However Pillai put the project on hold and started the work of "Mili", a heroine-centric film with Amala Paul in title role opposite Nivin Pauly. <P4-S7> The film released in January 2015 and received positive reviews from critics and became an above average grosser at box office. <P4-S8> "Vettah", a psychological thriller starring Kunchacko Boban, Manju Warrier, Indrajith Sukumaran and Kadhal Sandhya, scripted by Arunlal Ramachandran, and is touted to be the first ever mind game movie in Malayalam was released on 26 February 2016, a day before Pillai's death. <P4-S9> Manju Warrier plays the role of Sreebala IPS, the City Police Commissioner in this film. <P4-S10> Suffering from non-alcoholic fatty liver disease, Pillai died on 27 February 2016, at PVS Hospital, Kochi He is survived by his wife Megha, father Raman Pillai, and an elder sister. <P4-S11> Rajesh Raman Pillai (10 July 1974 – 27 February 2016) was an Indian film director best known for his work in Malayalam cinema. <SEP> <P5-S0> Elan Portnoy is a music producer and a guitarist in three bands: The Headless Horsemen, The Fuzztones and The Waspmen.