Question: Do both films Cantata (Film) and Skip Tracer have the directors that share the same nationality?

<P0-S0> Jack Shea (August 1, 1928 – April 28, 2013) was an American film and television director. <P0-S1> He was the president of the Directors Guild of America from 1997 to 2002. <SEP> <P1-S0> Hold That Woman! is a 1940 American film comedy directed by Sam Newfield starring the husband- and- wife team of James Dunn and Frances Gifford. <P1-S1> The working title of the film was" Skip Tracer". <SEP> <P2-S0> Zale Dalen is a Canadian film and television director. <P2-S1> He is best known for the 1980 film "The Hounds of Notre Dame", for which he garnered a Genie Award nomination for Best Director at the 2nd Genie Awards in 1981, and the cult films "Skip Tracer" (1977) and "Terminal City Ricochet" (1990). <P2-S2> His television credits have included episodes of "For the RecordThe Edison TwinsDanger BayAirwolfWiseguyThe BeachcombersAlfred Hitchcock Presents21 Jump Street" and "Call of the Wild". <P2-S3> In addition he directed two made for TV movies: "Anything to Survive" (1990) for ABC and "On Thin Ice, the Tai Babalonia Story" (1990) for NBC. <P2-S4> His non-television work includes educational and sponsored films, plus the Saskatchewan Pavilion film for Expo '86. <SEP> <P3-S0> Cantata is a 1963 Hungarian drama film directed by Miklós Jancsó and starring Zoltán Latinovits, Andor Ajtay and Gyula Bodrogi. <P3-S1> After witnessing a senior doctor about whom he had doubts bring back a patient from cardiac arrest a young doctor with peasant roots comes to question his whole life when the doctor collapses from the struggle. <P3-S2> Feeling that his progress from peasant's son to city doctor was made too smoothly, without a need to struggle or learn about life, and has made him arrogant and lonely, he comes to realises he has become gradually estranged from his own class and background after he returns to visit his hometown. <P3-S3> Its Hungarian title is Oldás és kötés ("Loosening and Tightening"). <P3-S4> The English title comes from the Cantata Profana. <P3-S5> Its story, heard as a radio broadcast in the film, echos the conflict within the young doctor. <P3-S6> It relates to nine sons raised by their father only to hunt, who know nothing of work, and spend all their time in the forest. <P3-S7> The nine were turned magically into stags and, although recognised by their father, their altered natures mean they cannot return to live in their home. <SEP> <P4-S0> Skip Tracer is a Canadian drama film, directed by Zale Dalen and released in 1977. <P4-S1> Dalen's feature-length directorial debut, the film was made for a budget of just $250,000 after Dalen and his wife Laara, the film's producer, decided that they were dissatisfied with their jobs and wanted to work in film. <P4-S2> The film stars David Petersen as John Collins, a repo man who begins to regret his career choice after being paired with Brent Solverman (John Lazarus), a new trainee whose very different perspective on the job begins to trigger Collins' conscience. <P4-S3> Petersen received a Canadian Film Award nomination for Best Actor, and Dalen received the Wendy Michener Award for "most promising new talent", at the 28th Canadian Film Awards. <P4-S4> In 1978, it became the first Canadian film ever selected for screening at the New York Film Festival. <SEP> <P5-S0> Miklós Jancsó (27 September 192131 January 2014) was a Hungarian film director and screenwriter. <P5-S1> Jancsó achieved international prominence from the mid-1960s onwards, with works including "The Round-UpSzegénylegények", 1965), "The Red and the WhiteCsillagosok, katonák", 1967), and " <P5-S2> Red PsalmMég kér a nép", 1971). <P5-S3> Jancsó's films are characterized by visual stylization, elegantly choreographed shots, long takes, historical periods, rural settings, and a lack of psychoanalyzing. <P5-S4> A frequent theme of his films is the abuse of power. <P5-S5> His works are often allegorical commentaries on Hungary under Communism and the Soviet occupation, although some critics prefer to stress the universal dimensions of Jancsó's explorations. <P5-S6> Towards the end of the 1960s and especially into the 1970s, Jancsó's work became increasingly stylized and overtly symbolic.