Question: Which film has the director died later, Be A Wicked Woman or Reasonable Doubt (1936 Film)?

<P0-S0> George King( 1899 – 26 June 1966) was an English actors' agent, film director, producer and screenplay writer. <P0-S1> He is associated with the production of quota quickies. <P0-S2> He helmed several of Tod Slaughter's melodramas, including 1936's. <SEP> <P1-S0> Reasonable Doubt is a 1936 British comedy film directed by George King starring John Stuart and Nancy Burne. <P1-S1> It was produced by the Hungarian Gabriel Pascal. <P1-S2> The story follows a lawyer( Stuart) whose love for a young girl( Burne) causes him to defend the man he thinks to be her lover. <P1-S3> During the trial the lawyer finds out that the man is his own son. <P1-S4> The film was made at Shepperton Studios as a quota quickie. <SEP> <P2-S0> Be a Wicked Woman, also known as" Angel, Become an Evil Woman", is a 1990 South Korean film directed by Kim Ki-young. <SEP> <P3-S0> Querelle is a 1982 West German- French English- language drama film directed by Rainer Werner Fassbinder and starring Brad Davis, adapted from French author Jean Genet's 1947 novel" Querelle of Brest". <P3-S1> It marked Fassbinder's final film as a writer/ director; it was posthumously released just months after the director died of a drug overdose in June 1982. <SEP> <P4-S0> A Wicked Woman is a 1934 drama film directed by Charles Brabin and starring Mady Christians as a woman who kills her abusive husband to protect her family and builds a new life to raise their four children. <P4-S1> The film also stars Jean Parker and Charles Bickford. <P4-S2> It was based on the novel" Wicked Woman" by Anne Austin. <SEP> <P5-S0> Kim Ki-young <P5-S1> ( October 10, 1919 – February 5, 1998) was a South Korean film director, known for his intensely psychosexual and melodramatic horror films, often focusing on the psychology of their female characters. <P5-S2> Kim was born in Seoul during the colonial period, raised in Pyongyang, where he became interested in theater and cinema. <P5-S3> During the Korean War, he made propaganda films for the United States Information Service. <P5-S4> With the success of these two films Kim formed his own production company and produced popular melodramas for the rest of the decade. <P5-S5> Ki-young's first expression of his mature style was in his" The Housemaid"( 1960), which featured a powerful" femme fatale" character. <P5-S6> After a" Golden Age" during the 1960s, the 1970s were a low- point in the history of Korean cinema because of governmental censorship and a decrease in audience attendance. <P5-S7> Films such as" Insect Woman"( 1972) and" Iodo"( 1977) were successful at the time and highly influential on the younger generations of South Korean filmmakers both at their time of release, and with their rediscovery years later. <P5-S8> By the 1980s, Kim's popularity had gone into decline, and his output decreased in the second half of the decade. <P5-S9> Neglected by the mainstream during much of the 1990s, Kim became a cult figure in South Korean film Internet forums in the early 1990s. <P5-S10> The Berlin International Film Festival gave Kim a posthumous retrospective in 1998, and the French Cinémathèque screened 18 of Kim's films, some newly rediscovered and restored, in 2006. <P5-S11> Through the efforts of the Korean Film Council( KOFIC), previously lost films by Kim Ki- young continue to be rediscovered and restored. <P5-S12> Many current prominent South Korean filmmakers, including directors Im Sang- soo, Kim Ki-duk, Bong Joon- ho and Park Chan- wook, claim Kim Ki- young as an influence on their careers.