Question: Do both films, La Muerte De Un Burócrata and Gulliver'S Travels (2010 Film), have the directors who are from the same country?

<P0-S0> La muerte de un burócrata (Death of a Bureaucrat) is a 1966 comedy film by Cuban director Tomás Gutiérrez Alea which pokes fun at the Communist bureaucracy and red tape and how it affects the lives of the common people who have to waste time and overcome hurdles just to get on with their ordinary lives. <P0-S1> The story begins with the death of a model worker, who is buried with his labor card as a badge of honor. <P0-S2> However, his widow is told she needs that card to claim the benefits she is entitled to. <P0-S3> The story then takes several surreal turns, as the family of the dead man tries to recover the precious card from the grave. <P0-S4> As they succeed to do so, the bureaucracy grows into a formidable enemy: Their wish to re-bury the husband is turned down, because all the official documents show he already has been buried... <SEP> <P1-S0> Ignacio Sánchez Mejías (6 June 1891, Seville – 13 August 1934, Madrid) was a famous Spanish bullfighter. <P1-S1> (other name for bullfighter is matador).He was also a writer. <P1-S2> He enjoyed enormous popularity — he was attractive to women, admired by men, and a sympathetic personality to artists, especially those of the Generación del 27. <P1-S3> When he died after a goring ("cornada") in the Plaza of Manzanares, he was memorialized by Miguel Hernández, Rafael Alberti and other famous poets, but probably the best of these works is Federico García Lorca's "Llanto por la muerte de Ignacio Sánchez MejíasWeeping for the Death of Ignacio Sánchez Mejías"), for many the best Spanish elegy since the "Coplas por la muerte de su padreVerses for the death of his father") by Jorge Manrique. <SEP> <P2-S0> Robert Thomas Letterman( born October 31, 1970) is an American film director and screenwriter. <P2-S1> Letterman made his directorial debut as co-director of the animated comedy film" Shark Tale"( 2004), for which he received a nomination for the Annie Award for Writing in a Feature Production. <P2-S2> He then co-directed the animated science fiction comedy film" Monsters vs. Aliens"( 2009). <P2-S3> Letterman has since transitioned into live- action filmmaking, directing the fantasy comedy film" Gulliver's Travels"( 2010), the horror comedy film" Goosebumps"( 2015), and the fantasy mystery film" Pokémon Detective Pikachu"( 2019). <SEP> <P3-S0> Gulliver's Travels is a 2010 American fantasy adventure comedy film directed by Rob Letterman, produced by John Davis and Gregory Goodman, written by Joe Stillman and Nicholas Stoller with music by Henry Jackman. <P3-S1> It is very loosely based on Part One of the 18th- century novel of the same name by Jonathan Swift, though the film takes place in the modern day. <P3-S2> It stars Jack Black, Jason Segel, Emily Blunt, Amanda Peet, Billy Connolly, T.J. Miller, Chris O' Dowd, James Corden and Catherine Tate, and is exclusively distributed by 20th Century Fox. <P3-S3> The film was theatrically released on December 25, 2010 in the US and earned$ 237.4 million on a$ 112 million budget. <P3-S4> " Gulliver's Travels" was released on DVD and Blu-ray Disc on April 19, 2011, by 20th Century Fox Home Entertainment. <SEP> <P4-S0> Recuerdos de un ángel is a 1948 Argentine film. <SEP> <P5-S0> Tomás Gutiérrez Alea (December 11, 1928 – April 16, 1996) was a Cuban filmmaker. <P5-S1> He wrote and directed more than 20 features, documentaries, and short films, which are known for his sharp insight into post-Revolutionary Cuba, and possess a delicate balance between dedication to the revolution and criticism of the social, economic, and political conditions of the country. <P5-S2> Gutiérrez's work is representative of a cinematic movement occurring in the 1960s and 1970s known collectively as the New Latin American Cinema. <P5-S3> This collective movement, also referred to by various writers by specific names such as “Third Cinema”, “Cine Libre”, and “Imperfect Cinema,” was concerned largely with the problems of neocolonialism and cultural identity. <P5-S4> The movement rejected both the commercial perfection of the Hollywood style, and the auteur-oriented European art cinema, for a cinema created as a tool for political and social change. <P5-S5> Due not in a small part to the filmmakers’ lack of resources, aesthetic was of secondary importance to cinema's social function. <P5-S6> The movement's main goal was to create films in which the viewer became an active, self-aware participant in the discourse of the film. <P5-S7> Viewers were presented with an analysis of a current problem within society that as of that time had no clear solution, hoping to make the audience aware of the problem and to leave the theater willing to become actors of social change.