1{2 "document_id": "lb_2wikimqa_550f734c7ef908fcfe6b1b7e761826340f00abaa5eb305a0",3 "family": "public_2wikimqa",4 "split": "dev",5 "text": "Passage 1:\nCuchillos de fuego\nCuchillos de fuego is a Venezuelan film released in 1990. It was directed by Román Chalbaud based on his theatre play Todo bicho de uña, where a young man, David, seeks revenge on his mother's rapist and murderer. In the film, which is styled like a Western, a stop-motion animated children's drawing of the young David crying over his mother's body is used to tell parts of the story. After searching through the Andes for ten years, he kills several Apaches for his revenge.In its theatrical release it was viewed by 367,652 people.\n\nProduction\nThe film stars Miguel Ángel Landa, who also produced it, as well as Marisela Berti, Javier Zapata, Charles Barri, Natalia Martínez, Gabriel Fernández, Dora Mazzone, Jonathan Montenegro, Gabriel Martínez, and Raúl Medina.Despite being a Spanish co-production, it was not released in Spain.\n\nResponse\nThe film has been praised for its mixing of diverse themes, like melodrama and fantasy. However, its use of Freudian references was seen as simple, with the film overall described as \"somewhat indigestible\".It has been assessed as thematically aligned with Chalbaud's other films, despite being a different genre. In this respect, it features \"mirage-like memories\" of David's mother;:46 masks and costumes used to show illusion and performance of characters thematically;:46-47 pop music in the background used to layer simple meaning;:47 the religious name (David) for its protagonist;:48 and the use of myths, specifically the \"fairytale of the abandoned child\".:52\nPassage 2:\nVittorio Cottafavi\nVittorio Cottafavi (30 January 1914 – 14 December 1998) was an Italian film director and screenwriter. He directed 70 films between 1943 and 1985. His film Il diavolo sulle colline was screened in the Un Certain Regard section at the 1985 Cannes Film Festival.\n\nSelected filmography\nPassage 3:\nBlossoms of Fire\nBlossoms of Fire (also known as Ramo de fuego) is a 2000 documentary film about the people of Juchitán, Oaxaca, Mexico. The documentary was directed by Maureen Gosling and Ellen Osborne.\n\nOverview\nAuthor Elena Poniatowska described the women of Juchitán de Zaragoza, a city in the Mexican state of Oaxaca, as “guardians of men, distributors of food.” Artists like Miguel Covarrubias and Frida Kahlo celebrated their beauty and intelligence. Blossoms of Fire shows them in their daily lives as they run their own businesses, embroider their signature fiery blossoms on clothing and comment on articles in the foreign press that depict them as a promiscuous matriarchy. In particular, an article in the Latin American version of ELLE Magazine infuriated the community during the time the filmmakers were shooting in 1994. Yet, it is expressed throughout the film by the women that they do not consider their society to be a matriarchy.\nThe people interviewed in this film share a common work ethic and independent streak rooted in Zapotec culture. The movie demonstrates powerful women, the region’s progressive politics, and a tolerance of homosexuality. Veteran film editor and former Les Blank collaborator Maureen Gosling and co-director Ellen Osborne tell of an indigenous community whose \"flair for survival in the modern world is a fighting spirit and the undeniable influence of women.\"\n\nScenes\nA midwife laughs over a young husband’s behavior during birth,\nA gay man cheerfully asserts that “the mom’s in charge” in Juchitecan society\nMany proudly describe the challenges they face in their work and their families.\n\nHonors and special screenings\nWorld Premiere - San Francisco International Film Festival, Castro Theater, SF and Pacific Film Archive, Berkeley\nCoral Prize for Best Foreign Documentary About Latin America: Havana International Film Festival, Havana, Cuba.\n\"Best Of\"Sunnyside of the Doc Film Market, Marseille, France\nAward for Excellence - Society for Visual Anthropology, American Anthropological Association\nBest Documentary - Film Fest New Haven, Conn.\nSecond Prize, Community Category, Terres en Vues First People's Festival, Montréal, Québec\nPrix Union Latine, Competition - La Cita Festival de Biarritz, Biarritz, France\nEl Foro de la Cineteca Nacional, Mexico City, Mexico (One of 12 international films chosen to screen at this prestigious Forum.) The film toured Mexico with the other films for three months following.\nHBO Frame by Frame Series, The Screening Room, Manhattan\nTour of the Mexican Republic, including Juchitán, Oaxaca, Mexico City, and dozens of venues in the southern Mexican states. Sponsored by the Mexican Film Institute (IMCINE). May–June 2001.\nHDerHumALC (Human Rights) Film Festival, Buenos Aires, Argentina.\nToured with festival films to Lima, Peru (Dec. 2002)\nWorld Social Justice Forum in Porto Alegre and Belem, Brazil (Jan. 2003).\n\nCredits\nProducer, Director, Editor - Maureen Gosling\nDirector, Co-Producer - Ellen Osborne\nCo-Producers - Toni Hanna, Maria Teresa García de la Noceda\nCinematographer - Xavier Pérez Grobet\nSound Recordist - Gabriela Espinoza\nField Producer - Susana Vásquez Sánchez\nAssociate Producer - Kelly Clement\nFiscal Sponsor - Film Arts Foundation, San Francisco\nFeaturing - the People of Juchitán and San Blas Atempa, Oaxaca\nPassage 4:\nMiloš Zličić\nMiloš Zličić (Serbian Cyrillic: Милош Зличић; born 29 December 1999) is a Serbian football forward who plays for Smederevo 1924. He is a younger brother of Lazar Zličić.\n\nClub career\nVojvodina\nBorn in Novi Sad, Zličić passed Vojvodina youth school and joined the first team at the age of 16. Previously, he was nominated for the best player of the \"Tournament of Friendship\", played in 2015. He made his senior debut in a friendly match against OFK Bačka during the spring half of the 2015–16 season, along with a year younger Mihajlo Nešković. Zličić made an official debut for Vojvodina in the 16th fixture of the 2016–17 Serbian SuperLiga season, played on 19 November 2016 against Novi Pazar.\n\nLoan to Cement\nIn July 2018, Zličić joined the Serbian League Vojvodina side Cement Beočin on half-year loan deal. Zličić made his debut in an official match for Cement on 18 August, in the first round of the new season of the Serbian League Vojvodina, in a defeat against Omladinac. He scored his first senior goal on 25 August, in victory against Radnički.\n\nInternational career\nZličić was called in Serbia U15 national team squad during the 2014, and he also appeared for under-16 national team between 2014 and 2015. He was also member of a U17 level later. After that, he was member of a U18 level, and scored goal against Slovenia U18.\n\nCareer statistics\nAs of 26 February 2020\nPassage 5:\nOjos de fuego\nOjos de Fuego (Eyes of Fire) is a 1995 Argentine independent short film written and directed by Jorge Gaggero.\n\nCast\nErasmo Olivera as Julian\nJorge Huertas as Comisario\nVictor Poleri as Rengo\nEva Fernandez as Madre de Julian\nLeandro Martínez as Laucha\n\nExternal links\nOjos de fuego at IMDb\nPassage 6:\nLa Bestia humana\nLa Bestia humana is a 1957 Argentine film whose story is based on the 1890 novel La Bête Humaine by the French writer Émile Zola.\n\nExternal links\nLa Bestia humana at IMDb\nPassage 7:\nRomán Chalbaud\nRomán Chalbaud (born 10 October 1931) is a Venezuelan film director and screenwriter, as well as a prominent playwright. Starting work in television after prestigious training, Chalbaud moved into making films before the industry took off in his home country, returning to theatre where he had been a great success for several years until filmmaking became a viable industry again. He has served as the president of Venezuela's leading theatre, television, and film organisations. A documentary about his life and work called Román en el universo de las maravillas, produced by Argentinian filmmakers, was released on 17 March 2018 in Altamira, Caracas at the Rómulo Gallegos Center for Latin American Studies.\n\nEarly life\nBorn in Mérida, Chalboud moved to Caracas with his grandmother at age six, and was seen in the city as a \"learning-disabled\" \"country boy\".Chalbaud was young, \"in his adolescence\" when he knew he wanted to be a storyteller, but also had a proclivity towards poetry. Some of his storytelling desires came from his grandmother, who was a keen reader of European literature, and also enjoyed watching some French and Italian films. It was not long after his revelation that he believed he could achieve both working in theatre and in film, the arts towards which he has focused since he was a teenager. His journey to becoming one of his nation's most renowned directors is framed as starting when he would go to a cinema as a teenager and watch films from the Golden Age of Mexican cinema, though Chalbaud himself says that he was inspired by dramatic angles when playing an angel in a Nativity play as a child and being hoisted into the rafters, able to watch the performance from a detached perspective, and to watch the audience as they watched the action.After leaving high school, Chalbaud studied for two years at the Teatro Experimental in Caracas, and then studied directing under Lee Strasberg in New York.\n\nCareer\nThe director was in his late teens when he got jobs working in television, whilst writing plays. When working one television job, in the early 1950s, he reports that his group worked from 3 pm until 9 at night, and would then spend time at a brothel. It is during this time that he found inspiration and stories for his play El Pez que Fuma, which he would later make into a film. He also wrote the plays Los adolescentes, for which he won the Ateneo de Caracas prize, and Caín adolescente in his early television career. It was also the early 1950s when he worked as the assistant director to Mexican filmmaker Víctor Urruchúa, working on two of Urruchúa's films, Six Months of Life and Light in the High Plains. In 1955 he became the artistic director of Televisora Nacional, a company he left in 1958.It is possible that he left Televisora Nacional, the official statement being \"for political reasons\", when he was imprisoned in 1957 for five months by the regime of Marcos Pérez Jiménez, an experience he says gave him a social conscience to do good after being tortured.Before releasing his first film, Chalbaud had seen enough success in playwriting that he was made the director of the National Theatre of Venezuela in 1958. He left this role the year after the release of Caín adolescente, in 1960. He had made two films by 1963, when cinema diminished in Venezuela and he was effectively forced to return to theatre. In 1967 he took the presidency of the UNESCO Latin American Theatre Institute, and it was in this year theatre collective \"El Nuevo Grupo\" was co-founded by Chalbaud; he dedicated the poem \"Us and the Theatre\" to the group, with which he has worked extensively since, that same year.The success of Chalbaud's plays is placed on his characters, with the social-realist works characterised by an open treatment of dramatic plots, and a supposedly archetypal selection of characters used to portray irony with the social contexts of marginalisation they find themselves, all which critiques the situation of the country. This is also a reason that his plays, many of them that he made into films, are deemed timeless and socially relevant even in the 21st century. He was awarded the National Theatre Award of Venezuela in 1984. He is considered, along with friends Isaac Chocrón and José Ignacio Cabrujas, to be \"a prime moving force in continuing the work of César Rengifo in the development of the contemporary Venezuelan theatre\". The three are known as the Holy Trinity of Venezuelan theatre.Though making films in this time, he had been largely focused on theatre. This would change after 1969, when Chalbaud left his president role and when Venezuelan cinema entered its Golden Age. He did return to television, joining Radio Caracas Television in 1969, but began his most successful line of work in film direction. Moving into film gave Chalbaud international acclaim, all of his films being screened at film festivals, and one being the first of his country's foreign-language Oscar nominations. His films, some of which are self-adaptations, are said to thematically continue his theatre work. He received the National Film Award of Venezuela in 1990.In 1974, Chalbaud, with other filmmakers of his generation, started Gente de Cine C.A., a production company which would produce most of his own films. In 1975, thanks to new national legislation pushed through by the Asociación Nacional de Autores Cinematográficos (National Association of Cinema Auteurs) — ANAC — Chalbaud was the first director to receive protected state funding, making the film Sacred and Obscene. The success of this film quashed the government's doubts about the funding program. He was then named President of the ANAC in 1978, and was the Director General of the Fundación Cinemateca Nacional de Venezuela (National Foundation of Venezuelan Cinema) for two years.Chalbaud resigned from Radio Caracas in 1982. In 1985, the San Sebastián Film Festival dedicated a retrospective to him; he has also been on the Jury of this festival, in 1990.In June 2018, he said he was in pre-production for a film trilogy about the life of Hugo Chávez.Alfonso Molina, in his 2002 book on the director, wrote that you cannot fully understand the socio-political culture of Venezuela without watching Chalbaud's films.\n\nPersonal life\nChalbaud revealed little personal information until he was quite old, when he said that though he loves the landscape of his home city Mérida, he considers Caracas the place to grow old. His favourite play is El Pez que Fuma. Fabián Pierucci, the director of the documentary about his life, says that Chalbaud is \"tireless, from his early rise until the night he is reading, writing, going to conferences, helping people\".He considers Luis Buñuel a \"master\".Chalbaud's political affiliation is chavismo, which he believes \"most of the country\" follows, arguing that Nicolás Maduro is not a dictator and that the opposition since his election are \"monsters\", justifying the government treatment of opposition members and describing the Constituent National Assembly as Venezuela's legitimate democratic house.\n\nFilmography\nPassage 8:\nLa niña de fuego\nLa niña de fuego (The fire girl) is a 1952 Argentine film.\n\nCast\nLolita Torres – Fernanda / Fernando\nRicardo Passano – Pocho\nMario Baroffio – Cipriano Albaicín\nCésar Fiaschi – Pereda\nDomingo Márquez – Andrés\nAntonio Martelo\nHelena Cortesina\nAlfonso Pisano – Ramallo\nArsenio Perdiguero – mr. José\nAntonio Martiánez – Captain\nDelfy Miranda – Ofelia\nNoemí Laserre – María de los Cantares\nArturo Arcari\nSemillita – box spectator\nHelena Cortesina – Clotilde\nCarlos Mendi – Marino\nOfelia Cortesina\nLuis Laneri\nDante Liguori\n\nExternal links\nLa niña de fuego at IMDb\nPassage 9:\nLa selva de fuego\nLa Selva de Fuego (The Jungle of Fire) is a 1945 Mexican romantic drama film directed by Fernando de Fuentes and starring Dolores del Río.\n\nPlot summary\nThe movie develops into the Jungle of Chiapas in México. A beautiful woman named Estrella (Dolores del Río) lost in a savage zone of the jungle. She is found by a group of men who are being held into the jungle as social outcasts. Their leader, Luciano (Arturo de Córdova) is a man of integrity, but with an inexplicable hatred toward women. The presence of a sensual woman between several alone men causing a chaos that only Luciano can save.\n\nCuriosities\nAccording to María Félix in her autobiography (Todas mis Guerras México, 1993), cause of this movie, she and Dolores del Río mistook their paths for only time. The film was written by Félix, but the messenger sent by mistake the film for Dolores. María finished filming the movie Vértigo (written by Dolores).\nPassage 10:\nA Woman Has Killed\nA Woman Has Killed (Italian: Una donna ha ucciso) is a 1952 Italian melodrama crime film directed by Vittorio Cottafavi. While on a train journey a young woman tells another passenger how she murdered her husband, a British army officer. It is a neorealist film, based on the real story of Lidia Cirillo, who appears in the film.\nThe film's sets were designed by the art director Ottavio Scotti.\n\nCast\nFrank Latimore as \tCapt. Roy Prescott\nLianella Carell as \tAnna\nAlessandro Serbaroli as \tLarry (as Alex Serbaroli)\nVera Palumbo as \tCarla\nUmberto Spadaro as \tPadre di Anna\nMarika Rowsky\nCeleste Aída\nDiego Muni\nVincenzo Milazzo\nPia De Doses\nLidia Cirillo",6 "char_len": 16456,7 "document_hash": "d0434dd44c167abec0173cd5c39c67c001afa4a131c3ae79404f993723266c01",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "2wikimqa",12 "question": "Which film whose director is younger, Cuchillos De Fuego or A Woman Has Killed?"13 }14 ]15}