Question: Do both films The Silly Age and The White Roses have the directors that share the same nationality?

He directed 40 film between 1910 and 1927. His wife Asta Nielsen starred in 30 of his films, also in his début the famous film" Afgrunden The Abyss") from 1910. They moved to Germany in 1911 where Gad worked with Paul Davidson until 1922. His uncle was Paul Gauguin. His mother was the( in Denmark) very well known playwright and expert of good manners Emma Gad. His films include a German- language adaptation of Gerhart Hauptmann's play" The Assumption of Hannele", which Gad directed in 1922. Peter Urban Gad( 12 February 1879 in Korsør, Denmark – 26 December 1947 in Copenhagen, Denmark) was a Danish film director. <SEP> It was Cuba's submission to the 80th Academy Awards for the Academy Award for Best Foreign Language Film, but was not accepted as a nominee. This film has been nominated to the Goya Awards as a Best Spanish Language Foreign Film, and has won 5 awards in three different film festivals around the world: a Golden India Catalina for Best Film in the Cartagena Film Festival; Best Art Direction, Best Director and Best Original Score winning the Feature Film Trophy in the Cine Ceará- National Cinema Festival; and the Audience Award( Elcine Second Prize) in the Lima Latinamerican Film Festival. The Silly Age is a 2006 Cuban film directed by Pavel Giroud. <SEP> The White Roses( German: Die weißen Rosen) is a 1916 German silent film directed by Urban Gad and starring Asta Nielsen, Ernst Hofmann and Max Landa. <SEP> Based on the success of" Yojimbo", Kurosawa's next film," Sanjuro"( 1962), was altered to incorporate the lead character of this film. In both films, the character wears a rather dilapidated dark kimono bearing the same family" mon". <SEP> There are two parts of the film: the first part and the second part. Both parts have the same staff and the same actors. <SEP> He studied design and graduated from the Instituto Superior de Diseño( High Institute of Design) in 1994. He first worked, for a short period of time, as a designer and art director in films and theatre plays. He then began to paint, working with the basic techniques and incorporating video in his work. When people saw his videos, they told Pavel he was a" gifted storyteller" and encouraged him to try his hand at cinema. Giroud had to do everything – from image to sound and music – when he directed his first short films. He even featured his friends in his movies, rather than professional actors. " It was n’t a massive hit but it made us feel good and made us feel like we were making a real picture". From there on, Pavel decided to focus his career on cinema. Giroud only filmed what he wrote, until he read the script of the movie" La Edad de la peseta", written by Arturo Infante, a young screenwriter and director. " When I first read the script, I did n’t see in this movie the possibility to express myself as a director". However, he gradually and simply fell in love with the script and the movie," Now, I tell Arturo that it ’s my film not his, and that he should forget he wrote it ..." He finished" La Edad de la peseta" in 2006. When film critics saw the movie, they dubbed Pavel the" new Cuban Truffaut" and" the finest director of his generation". One year later he directed a noir film titled" Omerta" and began to write his most ambitious project," The Companion". He spent more than six years developing it and finding financial support to make it. This film was selected as the Cuban entry for the Best Foreign Language Film at the 89th Academy Awards. While he developed this film, he co-directed" Playing Lecuona", a musical documentary film about the greatest legend of Cuban music, Ernesto Lecuona, starring the jazz pianists Michel Camilo, Chucho Valdés and Gonzalo Rubalcaba. From 2012, he has collaborated with the fine arts group Los Carpinteros, directing all of their video pieces. Pavel Giroud is a Cuban film director based in Madrid, Spain. In 2019 he was the acting coach of the actress Penélope Cruz in" Wasp Network", a film by Olivier Assayas. He trained her for more than three months to talk as a Cuban woman and adapted all of her lines in the script to a Cuban way of talking. Pavel is a third cousin of the famous Cuban writer Dulce María Loynaz.