1{2 "document_id": "lb_hotpotqa_887be3f3f2080532b3c0f1dc4d26be4f8a06030bf2e68a1a",3 "family": "public_hotpotqa",4 "split": "test",5 "text": "Passage 1:\nFrank Lloyd\nFrank William George Lloyd (2 February 1886 – 10 August 1960) was a British-born American film director, actor, scriptwriter, and producer. He was among the founders of the Academy of Motion Picture Arts and Sciences, and was its president from 1934 to 1935.\nHe is Scotland's first Academy Award winner and is unique in film history, having received three Oscar nominations in 1929 for his work on a silent film (The Divine Lady), a part-talkie (Weary River) and a full talkie (Drag). He won for The Divine Lady. He was nominated and won again in 1933 for his adaptation of Noël Coward's Cavalcade and received a further Best Director nomination in 1935 for perhaps his most successful film, Mutiny on the Bounty. Lloyd is credited with being a founder of the Academy of Motion Picture Arts & Sciences.\nIn 1957, he was awarded the George Eastman Award, given by George Eastman House for distinguished contribution to the art of film.On 8 February 1960, Lloyd received a star on the Hollywood Walk of Fame for his contributions to the motion pictures industry, at 6667 Hollywood Boulevard.\n\nEarly life and career\nLloyd was born in Cambuslang, on the outskirts of Glasgow, the youngest of seven children. His mother Jane was Scottish and his father Edmund was Welsh, a mechanical engineer. The family travelled the country until his father was injured and gave up engineering. They settled in Shepherd's Bush, London, where the family ran a pub. Lloyd worked in a shoe shop, sang in choral groups and joined a vaudeville group.\nIn 1909 he emigrated to Canada where he worked on a ranch in Alberta for a year. He also erected poles and writes for a telephone company, then joined a travelling show as an actor and singer. The show wound up in Los Angeles in 1913 and Lloyd decided to stay there and act in Hollywood films.\n\nFilm director\nParamount\nHe began directing shorts for Paramount and moved to longer running films: The Gentleman from Indiana (1915), Jane (1915), The Reform Candidate (1916), The Tongues of Men (1916), The Call of the Cumberlands (1916), Madame la Presidente (1916) with Anna Held, The Code of Marcia Gray (1916), David Garrick (1916 film) (1916), The Making of Maddalena (1916), An International Marriage (1916), and The Stronger Love (1916). The Intrigue (1916) was produced through Pallas Films and released through Paramount. Lloyd's biographer argued his early films \"are not 'masterpieces,' but they are on a par with films from other secondary directors of the period. In other words, they are not comparable to those directed by D.W. Griffith, but are as good as those directed by Allan Dwan.\"\n\nFox\nLloyd directed Sins of Her Parent (1916) at Fox, and The World and the Woman (1916) with Jeanne Eagles for Tranhouser. Back at Fox he did The Kingdom of Love (1917), and a series of films starring William Farnum\" The Price of Silence (1917), A Tale of Two Cities (1917) from the novel by Charles Dickens, American Methods (1917), When a Man Sees Red (1917), Les Misérables (1917), The Heart of a Lion (1917), True Blue (1918), Riders of the Purple Sage (1918) from the novel by Zane Grey and its sequel The Rainbow Trail (1918), For Freedom (1918), and The Man Hunter (1919). Without Farnum, Lloyd directed The Blindness of Divorce (1918).\n\nGoldwyn\nAt Goldwyn he made Pitfalls of a Big City (1919),The World and Its Woman (1919), The Loves of Letty (1919), The Woman in Room 13 (1920), The Silver Horde (1920 film) (1920), Madame X (1920) with Pauline Frederick, The Great Lover (1920), A Tale of Two Worlds (1921), Roads of Destiny (1921) with Frederick, A Voice in the Dark (1921), The Invisible Power (1921), The Grim Comedian (1921), and The Man from Lost River (1921) plus The Sin Flood (1922) with Richard Dix.\n\nFirst National\nLloyd directed some films for First National with Norma Talmadge: The Eternal Flame (1921), The Voice from the Minaret (1922), Within the Law (1923) and Ashes of Vengeance (1923).\nAlso for that studio was Oliver Twist (1922) with Lon Chaney and Jackie Coogan, and Black Oxen (1924).\nHe had his own company at First National, Frank Lloyd Productions. They made The Sea Hawk (1924), a swashbuckler with Milton Sills, then The Silent Watcher (1924), Her Husband's Secret (1925), Winds of Chance (1925), The Splendid Road (1926), and The Wise Guy (1926).\n\nParamount\nAt Paramount Lloyd made The Eagle of the Sea (1926), Children of Divorce (1927 film) (1927), Adoration (1928) with Billie Dove, The Divine Lady (1929) with Corinne Griffith, and Dark Streets (1929). Lloyd won the Academy Award for Best director for The Divine Lady.\nThere were several films starring Richard Barthemless: Weary River (1929), Drag (1929), Young Nowheres (1930), Son of the Gods (1930), and The Lash (1930). He was Oscar nominated for Best Director for Drag and Weary River.\nThere was also The Way of All Men (1930), a remake of Lloyds' own The Sin Flood, The Right of Way (1931), and East Lynne (1931).For Howard Hughes, Lloyd did The Age for Love (1931). Back at Fox he made A Passport to Hell (1932) then Cavalcade (1933), which won Lloyd the Oscar for Best Director.\nLloyd then made what was his favourite film, Berkeley Square (1933), starring Leslie Howard, followed by Hoop-La (1933) the final film of Clara Bow and Servants' Entrance (1934) with Janet Gaynor.\n\nMutiny on the Bounty and later career\nLloyd had a huge hit with Mutiny on the Bounty (1935) at MGM which earned him another Oscar nomination for Best Director. \nHe followed it with Under Two Flags (1936) at Fox, a French Foreign Legion tale with Ronald Colman.\n\nParamount\nAt Paramount Lloyd made more historical films: Maid of Salem (1937) with Claudette Colbert, Wells Fargo (1937) with Joel McCrea, If I Were King (1938) with Colman and Rulers of the Sea (1938) with Douglas Fairbanks Jnr, which was a commercial disappointment.\n\nUniversal\nLloyd made The Howards of Virginia (1940) at Columbia with Cary Grant. At Universal he set up his own company. He directed This Woman Is Mine (1941), and The Lady from Cheyenne (1941), and his company produced Saboteur (1942) from Alfred Hitchcock, The Spoilers (1942) with John Wayne and Randolph Scott, and Invisible Agent (1942).\nHe was one of several directors on RKO's Forever and a Day (1943). Lloyd had a big hit with James Cagney's Blood on the Sun (1945). He was Oscar nominated for Best Director of a Documentary with The Last Bomb (1945). Lloyf also served in the air force. He retired from filmmaking in 1946, intending to live on a ranch.\n\nFinal films\nLloyd's wife died in 1952 and he came out of retirement to make two films at Republic, The Shanghai Story (1954) and The Last Command (1955) a film about Jim Bowie. When he remarried in 1955 he retired again.\n\nPersonal life\nFrank Lloyd was married to actress Alma Haller from 11 July 1913, until her death on 16 March 1952. By 1955, Lloyd married Virginia Kellogg, and remained married until Lloyd's death on 10 August 1960 at age 74. Lloyd was buried at Forest Lawn Memorial Park in Glendale, California.\n\nReputation\nFrank Lloyd does not have a significant reputation. His biographer puts this down partly to the dismissal of Lloyd's work by Andrew Sarris (who compared the director unfavorably with Cecil B. de Mille) and \"because he was what is best described as a studio director. His style is as much the style of the studio as it is his own. He did not make waves; he did not overly publicize and promote himself. What he did was for the good of the studio – not for his own ego.\"\n\nSelected filmography\nPassage 2:\nZeitgeist Films\nZeitgeist Films is a New York-based distribution company founded in 1988 which acquires and distributes films from the U.S. and around the world. In 2017, Zeitgeist entered into a multi-year strategic alliance with film distributor Kino Lorber.\nZeitgeist has distributed early films by directors such as Todd Haynes, Christopher Nolan, Francois Ozon, Laura Poitras, Atom Egoyan, and the Quay Brothers. Their catalog also includes filmmakers such as Marguerite von Trotta, Ken Loach, Guy Maddin, Derek Jarman, Nuri Bilge Ceylan, Peter Greenaway, Yvonne Rainer, Andrei Zyvagintsev, Astra Taylor, and Raoul Peck. Previous Zeitgeist Films releases in association with Kino Lorber include Ken Loach's Sorry We Missed You, Ric Burns’ Oliver Sacks: His Own Life, and M.C. Escher: Journey to Infinity.\nZeitgeist films have been nominated for Academy Awards several times. Nowhere in Africa (2001), won the Academy Award for Best Foreign Language Film. Their films have been featured in various film festivals including Cannes, Berlin, Sundance, Tribeca, and IDFA in Amsterdam. The Museum of Modern Art honored Zeitgeist with a month-long, 20th anniversary retrospective of their films in 2008. Founders Russo and Gerstman received a Lifetime Achievement Award from the Art House Convergence in 2020.\n\nUpcoming films\nSelected films\nAwards\nTrouble the Water – 2008 Academy Award Nominee for Best Documentary Feature\nTulpan – Kazakhstan's 2009 Academy Award submission for Best Foreign Language Film\nThree Monkeys – Turkey's 2009 Academy Award submission for Best Foreign Language Film\nInto Great Silence – 2006 Sundance Special Jury Prize\nNowhere in Africa – 2002 Academy Award for Best Foreign Language Film\nSophie Scholl – The Final Days – 2005 Academy Award nominee for Best Foreign Language Film\nTaste of Cherry – 1997 Palme d'Or at the Cannes Film Festival\nPoison – 1991 Sundance Grand Jury Prize winner\nThe Umbrellas of Cherbourg (1996 re-release) – Academy Award nominee, Palme d'Or winner (1964)\nPassage 3:\nGraduation (2016 film)\nGraduation (Romanian: Bacalaureat) is a 2016 Romanian-language tragedy film produced, written, and directed by Cristian Mungiu and starring Adrian Titieni and Maria-Victoria Dragus. Set in Transylvania, the film focuses on a doctor's quest to fix his daughter's exam results by underhanded means.\n\nPlot\nRomeo is a middle-aged doctor employed at a local hospital in the Romanian region of Transylvania. He lives with his wife, Magda, and their 18-year-old daughter, Eliza, who has got a scholarship to Cambridge University. She is preparing to sit her final exams and needs to maintain a grade of at least 90% to take up her scholarship. Romeo is a doting father and drives Eliza to school regularly. \nRomeo's girlfriend, Sandra, is a teacher at Eliza's school. One day while visiting Sandra he receives a message: Eliza has been assaulted near her school. She has a sprained wrist and is emotionally shaken up but is not seriously injured. She reveals that the assailant tried to rape her but did not succeed. \nThe next day Eliza must sit for her first examination. The headmaster tries to exclude her because she is wearing a cast on her wrist - notes can be hidden in a cast. Sandra intervenes and the headmaster backs down. The cast slows her writing and time runs out before she is finished - she will need nearly perfect results on the remaining exams to claim her scholarship. \nAt the police station the chief inspector suggests to Romeo that Eliza's exam results can be fixed in exchange for expediting a liver transplant for a corrupt official, a Mr. Bulai. \nThat evening Romeo discusses the plan with Magda and she immediately rejects it - she fears the corruption in Romania will affect Eliza's fresh start at Cambridge. Romeo argues that the exams are a mere formality, otherwise meaningless. She is unmoved. Romeo presents the plan to Eliza and implores her to accept a little help now to ensure a brighter future. She listens to him but doesn't make any committed responses, and Romeo tells her to do what she thinks is best before he leaves to let her rest.\nThe next day Romeo goes to the police station to see the CCTV from Eliza's attack. As he waits at the school for Eliza to complete her second exam, he speaks to her boyfriend, Marius. Romeo listens to what Marius has to say about what happened on the morning of the attack and is put off by Marius' aloofness of the whole incident. Because he was late, Eliza was left on her own. He also assumed Eliza went off to class and did not seek her out. Eliza and Marius go off together on his motorbike.\nEliza comes to fetch Romeo from Sandra's place after Romeo's mother collapses. No longer able to ignore the affair, Eliza threatens to skip her exams if he doesn't tell Magda about it immediately. She wonders aloud whether her other grades were also \"fixed\". At home that evening Magda and Romeo talk. Magda already knew about Sandra and will try to get Eliza to take her last exam, but she also asks Romeo to move out.\nThe next day Romeo arrives for work at the hospital and is confronted by a pair of prosecutors. They want to interview Romeo's patient, Mr. Bulai, about corruption allegations against him. Romeo resists because Bulai is waiting for an operation and is quite unwell. The prosecutors caution Romeo they are aware of the quid-pro-quo arrangement for his daughter's exams - both he and Eliza could be facing charges. \nRomeo visits the chief inspector again, who assures him that his daughter's assailant will soon be identified in a police line-up. Later that day he sees Marius and invites him to view the lineup, as he believes he saw Marius witness the attack on the CCTV footage. Marius refuses, saying he did not witness the attack, that it is not him in CCTV picture. Romeo accuses him of cowardice for not intervening, and for only calling the cops much later after witnessing the assault. Romeo orders Marius to stay away from Eliza, and Marius pushes him to the ground and leaves. Romeo visits the headmaster at home to warn him the prosecutors know of the plan. The headmaster tells him that he couldn't find Eliza's paper, and that he shouldn't come to his house again.\nThat evening at the police station Eliza fails to identify her attacker from a line-up. Later, Romeo is on a bus and sees one of the men from the line-up outside. He leaves the bus and follows him, but gets lost in a bad area. He ends up at Sandra's place and agrees to babysit her son the next morning.\nThe next day Mr. Bulai has died of a heart attack. The prosecutors are waiting and assure Romeo that the investigation into Mr. Bulai's crimes will continue. Romeo asks the prosecutors to come next Monday and he will co-operate with them for any of their questions. Romeo gets Sandra's son Matei into a speech therapy program. Romeo sees Eliza at her graduation and she tells him that she may not go to England. Romeo responds that it would be a shame but it's her decision. Eliza then says that the teachers gave her extra time to complete her exam, so she did not need to follow Romeo's plan for fixing her paper. She asks Romeo to take a photo of her with her graduating class.\n\nCast\nAdrian Titieni - Romeo Aldea, a 49 year old physician living in a Transylvanian town with his daughter\nMaria Drăguș - Eliza Aldea, an 18-year-old high school student planning to study psychology abroad in the United Kingdom after graduating\nLia Bugnar - Magda\nMălina Manovici - Sandra\nVlad Ivanov - Chief Inspector\nGelu Colceag - Exam committee president\nRareș Andrici - Marius\n\nProduction\nAccording to Cristian Mungiu, the film was inspired by his own life at the time, while he was focusing on being a father. The film was produced through the director's company Mobra Films and co-produced with Why Not Productions, Wild Bunch, Les Films du Fleuve, France 3 Cinéma and Mandragora Movies. It received 1.91 million leu from the National Film Center. It was shot in the town Victoria from 11 June to 24 July 2015.\n\nRelease\nCritical reception\nOn Rotten Tomatoes, Graduation has a rating of 95%, based on 138 critics, with an average rating of 8.2/10. The website's critical consensus reads, \"Graduation marks yet another well-written and powerfully acted look at morality and societal decay from writer-director Cristian Mungiu.\" On Metacritic, Graduation holds a score of 84/100, based on 30 critics, indicating \"universal acclaim\".Peter Bradshaw of The Guardian lauded it as an \"intricate, deeply intelligent film\".\n\nAccolades\nGraduation was selected to compete for the Palme d'Or at the 2016 Cannes Film Festival. At Cannes, Mungiu shared the Best Director Award with Olivier Assayas for his film Personal Shopper. At the 8th Magritte Awards, it received a nomination in the category of Best Foreign Film in Coproduction.\nPassage 4:\nOlivier Assayas\nOlivier Assayas (born 25 January 1955) is a French film director, screenwriter and film critic. Assayas is known for his slow-burning period pieces, psychological thrillers, neo-noirs and French comedies. He has frequently collaborated with Juliette Binoche and Kristen Stewart. The son of filmmaker Jacques Rémy, Assayas began his career as a critic for Cahiers du Cinéma. There he wrote about world cinema and its film auteurs, who later influenced his work. Assayas made several shorts, and then made the leap from writer to screenwriter.\nHe made his directorial film debut with Disorder in 1986. He continued directing films, with Cold Water (1994) a breakthrough film in his career. It was his first film to screen at the Cannes Film Festival in the Un Certain Regard section. His followup film, Irma Vep (1996), also screened at Cannes, while Sentimental Destinies (2000), Demonlover (2002), and Clean (2004) all officially competed for the Palme d'Or. In 2006, he contributed a short film to the anthology film Paris, je t'aime (2006). He gained acclaim with his dramas Summer Hours (2008), Clouds of Sils Maria (2014) and Personal Shopper (2016); the latter won him the Cannes Film Festival Award for Best Director. He also directed the comedy Non-Fiction (2018) and the spy thriller Wasp Network (2019).\n\nLife and career\nAssayas was born in Paris, France, the son of French director/screenwriter Raymond Assayas, alias Jacques Rémy (1911–1981). His father was of Turkish-Jewish origin and had settled in Italy, while his mother, Catherine de Károlyi, was a fashion designer of Protestant Hungarian origin. Assayas started his career in the industry by helping his father. He ghostwrote episodes for TV shows his father was working on when his health failed. In a 2010 interview, Assayas said his main political influences when growing up were Guy Debord and George Orwell. Of the 1968 May uprising to overthrow Charles de Gaulle, Assayas said: \"I was defined by the politics of May '68, but for me May '68 was an anti-totalitarian uprising. People seemed to forget that at the occupied Odéon theater, you had crossed flags-black and red, and I was on the side of the black element.\"Assayas's biggest hit to date is Irma Vep, starring Maggie Cheung, a tribute both to French director Louis Feuillade and to Hong Kong cinema.\nWhile working at Cahiers du cinéma, Assayas wrote lovingly about European film directors he admires but also about Asian directors. One of his films, HHH: A Portrait of Hou Hsiao-hsien, is a documentary about Taiwanese filmmaker Hou Hsiao-hsien.\nAssayas married Cheung in 1998. They divorced in 2001, but their relationship remained amicable, and in 2004 Assayas made his film Clean with her.\nHe met actress-director Mia Hansen-Løve when Hansen-Løve, 17 at the time, starred in Assayas's 1998 feature Late August, Early September, but they \"didn't get together until [she] was 20\". They separated in 2017.\nIn 2009 and 2010, Assayas signed two petitions in support of director Roman Polanski, who had been detained while traveling to a film festival in relation to his 1977 sexual abuse charges, which the first petition argued would undermine the tradition of film festivals as a place for works to be shown \"freely and safely\", and that arresting filmmakers traveling to neutral countries could open the door \"for actions of which no-one can know the effects\".Assayas directed and co-wrote the 2010 French television miniseries Carlos, about the life of the terrorist Ilich Ramírez Sánchez. Venezuelan actor Édgar Ramírez won the César Award for Most Promising Actor in 2011 for his performance as Carlos.\nIn April 2011, it was announced that Assayas would be a member of the jury for the main competition at the 2011 Cannes Film Festival.Assayas's 2012 film Something in the Air was selected to compete for the Golden Lion at the 69th Venice International Film Festival. Assayas won the Osella for Best Screenplay at Venice. His 2014 film Clouds of Sils Maria was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival. Sils Maria won the Louis Delluc Prize and garnered six César Award nominations, including Best Film, Best Director, and Best Original Screenplay. The film won a César Award for Best Supporting Actress for Kristen Stewart. In 2016, Assayas won Best Director Award (Cannes Film Festival) for Personal Shopper, which also starred Stewart.In June 2017, it was announced that Assayas would preside over the 2017 Locarno Film Festival.\n\nStyle and influences\nIn an interview with Nick Pinkerton of Reverse Shot, Assayas talked about his influences:That radicality in cinema involved just being outside of the world of modern images, and the key to it was the work of Robert Bresson, who has been by far the most important influence in my work, and intellectually it's been the influence of Guy Debord—basically, you know, it's been Debord-Bresson, Bresson-Debord, the things that've always defined my framework, the way I look at the world.\nAssayas participated in the 2012 Sight & Sound directors' poll, listing his ten favorite films as follows: 2001: A Space Odyssey, The Gospel According to St. Matthew, Ludwig, A Man Escaped, Mirror, Napoléon, Playtime, The Rules of the Game, The Tree of Life, and Van Gogh.\n\nFilmography\nFilm\nAs a writer only\n\nPassage secret (1985)\nRendez-vous (1985)\nL'Unique (1986)\nScene of the Crime (1986)\nAvril brisé (1987)\nFilha da Mãe (1990)\nAlice and Martin (1998)\nBased on a True Story (2017) - Co-written with Roman Polanski\n\nTelevision\nShort films\nAwards and nominations\nPassage 5:\nJorge Arriagada\nJorge Arriagada (born 1943) is a Chilean film composer. He is perhaps best known for his long-term collaboration with director Raúl Ruiz. He has also worked with directors Patricio Guzman, Barbet Schroeder and Olivier Assayas.\n\nBiography\nJorge Arriagada was born on August 20, 1943, in Santiago. He studied composition and orchestral conduction at the National Conservatory of Music in Santiago. He then obtained a scholarship from the French government that enabled him to study expressionism with Max Deutsch, who was Austrian composer Arnold Schoenberg's friend and student. He also studied composition with Olivier Messiaen and orchestral conduction with Pierre Boulez. In 1972, the Guggenheim Foundation in New York awarded him a fellowship for his contribution in the field of electronic music.\nArriagada has been living in France since 1966, working with experienced as well as promising directors while composing the scores of 44 of Raúl Ruiz's films. Over the years he has explored many different genres, including classical, contemporary and folk music as well as jazz.\nHe has been a jury in several film festivals, including San Sebastian, São Paulo, Valencia, among others.\nSacem Grand Prize for Music for the Image 2020.\n\nFilmography\nDiscography\nThree original soundtracks composed by Arriagada can be found on the CD compilation Les Musiques de Jorge Arriagada pour les films de Philippe Le Guay, released by Canadian label Disques Cinémusique, in 2013 : Alceste à Bicyclette, Les Femmes du 6e étage et Les Deux Fragonard. French and English liner notes. More information here.\nThe same label also released the same year Arriagada's complete original soundtrack from Les Lignes de Wellington. More information here.\n\nExternal links\nJorge Arriagada at IMDb\nPassage 6:\nIrma Vep\nIrma Vep is a 1996 French comedy-drama film written and directed by Olivier Assayas. Hong Kong actress Maggie Cheung plays a fictionalised version of herself, as disasters result when an unstable French film director (played by Jean-Pierre Léaud) attempts to remake Louis Feuillade's classic silent film serial Les Vampires (1915–16). (Irma Vep is an anagram for the word \"vampire\".) Taking place largely through the eyes of a foreigner (Cheung), it is also a meditation on the state of the French film industry.\nIrma Vep was screened in the Un Certain Regard section at the 1996 Cannes Film Festival. It was released in France on 13 November 1996. \nIn 2022, the film was reimagined as a miniseries for HBO, created by Assayas.\n\nPlot\nThe plot mirrors the disorientation felt by director René Vidal during a troubled production of a film-within-a-film. Maggie Cheung has been cast to play the film's heroine, Irma Vep, a burglar and a spy, who dresses in a tight, black, latex rubber catsuit. Irma Vep, it is explained, is an anagram for vampire, but she is not a literal vampire. Rather, she is the inspiration for a criminal gang named The Vampires, as in Feuillade's original serial.\nRené, the cast and crew view the film's dailies and he angrily declares the footage terrible and soulless. After he storms out, everyone else quickly departs the facility, leaving Maggie stranded. She accepts an invitation from the costume designer, Zoé, to a group dinner with other crew members. There, Zoé confides to another woman that she is romantically interested in Maggie, which the woman then tells Maggie, embarrassing her.\nAfter the dinner with the other crew members, Maggie visits René at a hotel in the aftermath of a violent episode with his wife. René admits that he had mainly wanted to make the film because he desired to see her in it. Later that evening, Maggie, apparently possessed by her character, dons the catsuit and steals jewelry from a hotel suite while a nude woman argues on the phone with her boyfriend. She then throws away the jewelry.\nThe next morning, Zoé picks an exhausted Maggie up from her hotel room. René is a no-show on the set, and the crew attempt to film without him. At the end of the day, imperious film director José Mirano meets Maggie's costar Laure at a bar and tells her René has had a breakdown and that he has been hired to complete the film. He firmly contends that a Chinese actress should not be playing Irma Vep, who he sees as an icon within French culture. José tells her he intends to replace Maggie with Laure.\nZoé and Maggie take a taxi to a rave, but Maggie declines to go at the last minute and departs in the taxi. Zoé, looking disappointed, walks through the crowd at the rave.\nJosé and the cast and crew gather at the screening facility to view the rushes that René has personally edited. Maggie is not there, however, and it is said that she has left for America to work on a film with Ridley Scott. The film ends with the rushes, which have been cut into a hallucinatory montage with numerous scratches and other modifications being done to the film itself. The future of the production is not revealed.\n\nCast\nAllusions to French film history\nThe film refers to iconic figures in French film history: Louis Feuillade, Musidora, Arletty, François Truffaut, the Groupe SLON, Alain Delon, and Catherine Deneuve. Thematically, the film questions the place of French cinema today. According to Chris Darke, it is not a \"mourning for cinema with the romantic nostalgia\" but \"more like the Mexican Day of the Dead: remembrance as an act of celebration\". Furthermore, Dale Hudson of Screen wrote, \"It is less a film about re-presenting the past, than it is a film about addressing the present, specifically the place of France within the global economy.\"\n\nProduction\nThe idea for the film was born out of an attempted collaboration among Assayas, Claire Denis, and Atom Egoyan, who wanted to experiment with the situation of a foreigner in Paris. In the 1915 original serial, written and directed by Louis Feuillade, Irma Vep was played by French silent film actress Musidora (1889–1957). Much of the film depicts set-related incidents that echo scenes in Truffaut's 1973 film Day for Night, to which Irma Vep owes a large thematic debt.\nHowever, Assayas publicly stated that although he considers La nuit americaine a great film, it is more about the fantasy of filmmaking than the reality. Assayas credits as a greater inspiration Rainer Werner Fassbinder's Beware of a Holy Whore, in which Lou Castel, who plays the replacement director José Mirano in this film, plays a film director.\nAssayas wrote the script in ten weeks, and the film was shot in a month, with no retakes. \"Its hasty production circumstances seem perilously close to the ones that cause everyone such grief in the film.\"Assayas married Cheung in 1998. They divorced in 2001. They again collaborated in 2004 on the film Clean.\n\nReception\nIrma Vep received a positive critical response. On Rotten Tomatoes, the film holds a rating of 94% based on 47 reviews with an average rating of 7.4/10. The website's critics consensus reads, \"Starring a bewitching Maggie Cheung, Irma Vep is an evocative and reflexive satire of the filmmaking process that is bursting at the seams with an affection for cinema.\" On Metacritic, it has a metascore of 80 out of 100 based on 21 reviews, indicating \"generally favorable reviews\".\n\nReferences in other media\nLettrist footage from the film, along with shots from the original Les Vampires, are used in White Ring's video for their single \"IxC999\".\nA character in the five-comic series \"Anno Dracula – 1895: Seven Days in Mayhem\" by Kim Newman and Paul McCaffrey is based on Irma Vep.\n\nHome media\nIrma Vep was released on Blu-ray and DVD through The Criterion Collection on 27 April 2021.\n\nTelevision adaptation\nHBO produced a limited television series adaptation of the film that premiered at the Cannes Film Festival on 22 May 2022, and was released on 6 June 2022 on HBO. It stars Alicia Vikander, Vincent Macaigne, Adria Arjona, Byron Bowers, Devon Ross, Carrie Brownstein, Tom Sturridge and Fala Chen and was written and directed by Assayas.\n\nSee also\nThe Mystery of Irma Vep, a 1984 play for two characters by Charles Ludlam\nLettrism, inspiration for some sequences of the film\nPassage 7:\nSomething in the Air (2012 film)\nSomething in the Air (French: Après mai; lit. 'After May') is a 2012 French drama film written and directed by Olivier Assayas. The film was selected to compete for the Golden Lion at the 69th Venice International Film Festival, where Assayas won the Best Screenplay Award.\n\nPlot\nIn 1971, French student Gilles gets entangled in contemporary political turmoils although he would rather just be a creative artist. While torn between his solidarity to his friends and his personal ambitions he falls in love with Christine.\n\nCast\nClément Métayer as Gilles\nLola Créton as Christine\nFélix Armand as Alain\nCarole Combes as Laure\nIndia Menuez as Leslie\nHugo Conzelmann as Jean-Pierre\nMartin Loizillon as Rackam le Rouge\nAndré Marcon as Gilles' Father\nPassage 8:\nClouds of Sils Maria\nClouds of Sils Maria (known simply as Sils Maria in some territories) is a 2014 psychological drama film written and directed by Olivier Assayas, and starring Juliette Binoche, Kristen Stewart, and Chloë Grace Moretz. The film is a French-German-Swiss co-production. Principal photography took place from August to October 2013, with most of the filming taking place in Sils Maria, Switzerland. The film follows an established middle-aged actress (Binoche) who is cast as the older lover in a romantic lesbian drama opposite an upstart young starlet (Moretz). She is overcome with personal insecurities and professional jealousies—all while sexual tension simmers between her and her personal assistant (Stewart). The screenplay was written with Binoche in mind and incorporates elements from her life into the plot.Clouds of Sils Maria was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival on 23 May 2014, and also screened at the Toronto International Film Festival and New York Film Festival. The film received positive reviews, with critics lauding the work as psychologically complex and praising the lead actresses' performances. It won the Louis Delluc Prize for Best Film in December 2014, and received six César Award nominations. Stewart received the César Award for Best Supporting Actress in February 2015, the first time an American won the award.\n\nPlot\nMaria Enders is an international film and stage actress. She travels with a loyal and young American assistant, Valentine. Twenty years earlier, Maria got her big break when she was cast and successfully performed as a young girl Sigrid in both the play and film version of Maloja Snake by Wilhelm Melchior, a Swiss playwright who is now elderly. The play centers on the tempestuous relationship between Sigrid and Helena, a vulnerable older woman. Helena commits suicide after Sigrid takes advantage of her and dumps her.\nWhile traveling to Zürich to accept an award on behalf of Wilhelm, and planning to visit him at home the following day at his house in Sils Maria—a remote settlement in the Alps—Maria learns of his death. His widow Rosa later confides that Wilhelm had ended his life and had been terminally ill. During the awards ceremony, Maria is approached by Klaus Diesterweg, a popular theater director. He wants to persuade her to appear onstage in a revival of Maloja Snake, but this time in the role of Helena.\nMaria is torn and reluctantly accepts. To prepare for the role, she accepts Rosa's offer to stay at the Melchiors' house in Sils Maria. Rosa is leaving to escape her memories of Wilhelm. Maria's discussions with Valentine and their read-throughs of the play's scenes evoke uncertainty about the nature of their relationship. A young American actress, 19-year-old Jo-Ann Ellis, has been chosen to portray the role of Sigrid. Researching her on Google and the Internet, Valentine tells Maria, who is out of touch with social media, that Ellis has been involved in numerous scandals.\nQuestions soon multiply regarding aging, time, culture and the blurring line between the Sigrid/Helena and the Valentine/Maria relationships. Maria and Jo-Ann finally meet, but their relationship is complicated. Jo-Ann appears to be implicated in the attempted suicide of the ex-wife of her new boyfriend.\nDuring their time at Sils Maria, Maria and Valentine spend much of their days hiking in the Alps. On one such final outing, they hike to the Maloja Pass to observe the Maloja Snake (both the \"Maloja Snake\" of the play's title and the \"Clouds of Sils Maria\" in the film's title). When discussing the play’s ending, in which Helena walks into the mountains never to return, Valentine suggests that Helena can still be alive and walk away to start a new life. Maria protests that Helena must be dead because she doesn’t return. After suggesting that their approaches to the play are too different for her (Valentine) to be a useful assistant, Valentine disappears without explanation.\nA few weeks later, a young filmmaker who has previously sent a script to Maria visits her by appointment five minutes before the curtain rises on the opening night of Maloja Snake in London. Maria seems preoccupied, being so close to the start of the performance, and dismisses his suggested ideas about the proposed film role he is offering her as \"too abstract for me\". When she says the role he has written is too young for her and would suit Jo-Ann better, he suggests that the character is ageless and that he does not relate to his era with its Internet scandals and trashy values. Maria does not give him a reply as to whether she will take part in the film. She then appears onstage, smoking and waiting for Sigrid.\n\nCast\nProduction\nPrincipal photography of Clouds of Sils Maria began on 22 August 2013 and ended on 4 October. The film was shot on location in the titular village of Sils Maria, Switzerland as well as Zürich; Leipzig, Germany; and South Tyrol, Italy.\nIn an interview, Assayas said that all the film's interiors were shot in Germany. The production moved to Sils Maria to film the hiking scenes, and moved again to film the scenes in and around the chalet in South Tyrol.The Chanel company debuted in film financing with this production. In addition it supplied the actresses with clothes, jewelry, accessories, and makeup, and the brand was scripted in as a provider of the same to Maria. Chanel provided some of the budget to allow Olivier Assayas to fulfill his dream of shooting a film on 35-mm film instead of digitally.Assayas has described the fictional play Maloja Snake as a \"condensed, brutalized version\" of The Bitter Tears of Petra von Kant, a play by Rainer Werner Fassbinder (it was later adapted as a film of the same name).The American title of the film is Clouds of Sils Maria. In France the film was released as Sils Maria, Assayas' original name.\n\nRelease\nMarketing\nThe first trailer for the film was released on 22 May 2014. Another international trailer followed on 7 July.\n\nFilm festivals\nThe film was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival on 23 May 2014. It also screened at the Toronto International Film Festival and New York Film Festival.\n\nReception\nCritical response\nOn review aggregator Rotten Tomatoes, 91% of 179 critics have given the film a positive review, with an average rating of 7.6/10. The website's critics consensus reads: \"Bolstered by a trio of powerful performances from its talented leads, Clouds of Sils Maria is an absorbing, richly detailed drama with impressive depth and intelligence.\" On Metacritic, the film has a weighted average score of 79 out of 100, based on 41 reviews from critics, indicating \"generally favorable reviews\".Clouds of Sils Maria premiered at the Cannes Film Festival to positive reviews. Robbie Collin of The Daily Telegraph stated, \"This is a complex, bewitching and melancholy drama, another fearlessly intelligent film from Assayas.\" He said, \"Binoche plays the role with elegance and melancholic wit – her character slips between fiction and fact in a way that recalls her role in Abbas Kiarostami's Certified Copy. But it's Stewart who really shines here. Valentine is probably her best role to date: she's sharp and subtle, knowable and then suddenly distant, and a late, surprising twist is handled with a brilliant lightness of touch.\"Peter Debruge of Variety said it was Assayas' \"daring rejoinder, a multi-layered, femme-driven meta-fiction that pushes all involved—including next-gen starlets Kristen Stewart and Chloë Grace Moretz — to new heights.\" Matt Risley of Total Film called it \"an elegant, intelligent drama, enlivened by strong performances by Binoche, Moretz and especially Stewart, for whom this will surely usher in a new dawn.\"Stephanie Zacharek of The Village Voice wrote: \"But the movie's true center, the meteorological phenomenon that makes it so pleasurable to watch, is the half-prickly, half-affectionate interplay between Binoche and Stewart.\" Ben Sachs of Chicago Reader wrote: \"This recalls Ingmar Bergman's chamber dramas in the intensity and psychological complexity of the central relationship, yet the filmmaking is breathtakingly fluid, evoking a sense of romantic abandon.\"However, Kyle Smith of the New York Post writes: \"A backstage drama that has all the sizzle of a glass of water resting on the windowsill, [...] Clouds of Sils Maria mistakes lack of dramatic imagination for smoldering subtlety.\" Richard Brody from The New Yorker writes: \"Clouds of Sils Maria, as the title suggests, is a sort of travelogue, a commercial for European cultural tourism, and, as such, it's the perfect image of the very system that created it. There's almost no independent filmmaking in France, and there isn't supposed to be. If there were, it would stand as a threat to the system that, by way of training, enticements, and restrictions, is the source of the comforts that the movie depicts and that the movie reflects. The mediocrity is stifling.\"\n\nBox office\nClouds of Sils Maria opened in France on 20 August 2014 in 150 theaters for a $3,663 per theater average and a box office total of $549,426 as of 24 August 2014. The film expanded to 195 theaters in its second week of release, and the box office increased to an estimated $1,150,090.\nClouds of Sils Maria opened in the United States on 10 April 2015 in three theaters and grossed $69,729 on its opening weekend for an average of $23,243 per. As of 4 June 2015, the film has grossed an estimated $1,743,577 after expanding theaters.\n\nAwards and nominations\nThe film won the Louis Delluc Prize for Best Film in December 2014. The film received six César Award nominations including best film, best director, best actress, best original screenplay, and best cinematography, while Stewart won for best supporting actress, becoming the first American actress to win a César and the third American actor to win after Adrien Brody in 2003 and Christopher Lambert in 1985.\n\nSoundtrack\n\"Kowalski\" by Primal Scream\n\"Largo de Xerxes\" – Georg Friedrich Handel\n\"Canon and Gigue in D Major for 3 Violins and Basso Continuo\" – Johann Pachelbel\n\"Paavin of Albarti (Alberti)\" – Innocentio Alberti (performed by Hesperion XXI)\n\"Sonata No. 2 in D Minor\" – Georg Friedrich Handel\n\"Sonata No. 2 in B-Flat Major for Violin and Harp, Op. 16: II. Adagio\" - Louis Spohr\n\"Trio for Violin, Cello and Harp in E minor: III. Rondo\" - Louis Spohr\n\nHome media\nThe film was released on DVD and Digital HD by Paramount Home Media on July 14, 2015; the company also handles the digital entertainment sales, with IFC handling the video on demand sales.The Criterion Collection released a DVD and Blu-ray edition on 28 June 2016.\nPassage 9:\nEddie's House\nEddie's House was a doghouse designed by Frank Lloyd Wright for the Berger family of San Anselmo, California, to be used by their dog Eddie. Wright designed Eddie's House to be in keeping with the family's home, known as the Robert Berger House, which he had previously designed. The plans for the doghouse were completed by Wright in 1957, and the 4 sq ft (0.37 m2) triangular house was built in 1963. In 1973 Eddie's House was removed and thrown away, but in 2010 Jim and Eric Berger, sons of Robert Berger, rebuilt Eddie's House from the original plans for a segment in Romanza, a documentary film by Michael Miner about Frank Lloyd Wright's architectural works in California. The doghouse remains the smallest structure Frank Lloyd Wright ever designed.\n\nHistory\nEddie's House was a doghouse designed by Frank Lloyd Wright as an addition to the Robert Berger House. The Robert Berger House is a dwelling designed by Frank Lloyd Wright for the Berger family. Wright gave the plans to trained engineer and College of Marin professor Robert Berger to build the house on his own on Redwood Road in San Anselmo, California. It took 20 years to finish the US$15,000 house.In 1956, Robert's 12-year-old son Jim Berger became concerned about his black Labrador Retriever Eddie staying outside in the winter, and decided he needed a doghouse to stay warm. Jim subsequently wrote a letter to Frank Lloyd Wright stating, \"I would appreciate it if you would design me a doghouse which would be easy to build but would go with our house.\" Jim continued to explain Eddie's dimensions (\"two and a half feet high and three feet long\"), his dog's age (\"four years old or in dog life 28 years\"), and his ability to pay for the plans and materials of the doghouse with earned money from delivering newspapers along a bicycle paper route he had. Wright responded to the letter with a typed and signed note on Taliesin West stationery. The note stated that \"A house for Eddie is an opportunity...but just now I am too busy to concentrate on it.\" Wright implored the boy to write again a year later to see if he was a little less busy.Jim followed the suggestion laid out by Wright and a year later wrote again asking for a Frank Lloyd Wright-designed doghouse. Not long after sending out this second letter a full set of working drawings arrived in the mail for a four square foot triangular doghouse designed by Wright himself. The doghouse was to be built of scrap Philippine mahogany and cedar left over from the construction of the human-sized house it was to be situated next to. Looking back at the situation a 68-year-old Jim Berger stated:\nMy dog had a lot of class, and a Frank Lloyd Wright doghouse was perfect for him. I was very excited for my dog.\nJim Berger never built the doghouse and in 1963, at the age of 19, Jim joined the U.S. Army. That same year, after Jim's departure, his younger brother Eric and his father completed the doghouse. Eddie did not particularly like the new house and took to sleeping by the front door of the Robert Berger House instead, presumably because it was warmer there. \"That was kind of depressing,\" stated Jim Berger when reflecting on the incident.Robert Berger died in 1973 and Mrs. Berger, not seeing any value in a triangular doghouse that Eddie and the subsequent dogs they owned would not sleep in, had it hauled to the dump the same year.In 2010, while filming a documentary about buildings designed by Wright in California, Michael Miner stumbled across the doghouse story. Miner asked Jim Berger if rebuilding Eddie's House was an option. Jim, at this point a retired woodshop teacher, said that he had wanted to rebuild the doghouse for years and this was the opportunity to do so. Over the next three months Jim and his brother Eric, a skilled cabinetmaker, were filmed by Miner rebuilding the doghouse to Wright's specification in Eric's Petaluma, California garage. Jim Berger said, in relation to the construction process, \"In the letter, I said I wanted something easy to build, but this doghouse was not easy to build. It was very complicated.\"The construction process is featured in Miner's documentary, Romanza, and the rebuilt doghouse also went on a publicity tour for the film. During filming, the rebuilt doghouse was placed on the side of the Robert Berger House where the original once sat. On that day it happened to be raining and Miner noticed something peculiar about the doghouse which it had in common with other Wright-designed structures: \"It leaks.\"\n\nDesign\nEddie's House is the smallest structure ever known to be designed by Frank Lloyd Wright and fits in well with the Robert Berger House. Eddie's House was constructed of the same materials as the larger house and the \"small triangular hut... bowed to the hexagonal geometry of the house's hexagonal plan.\" The doghouse also displays many signature design elements that have come to represent Frank Lloyd Wright's architectural style. These include an entrance hidden on the rear of the house, and a large overhang on a roof with a low pitch.When Eddie's House was actually constructed, the Berger family did not follow Wright's plans strictly. They changed the location of the door as well as not including a concrete base planned by Wright to make the doghouse portable.\n\nSee also\nList of Frank Lloyd Wright works\n Architecture portal\n Dogs portal\nPassage 10:\nCold Water (film)\nCold Water (French: L'eau froide) is a 1994 French film written and directed by Olivier Assayas about two troubled teenagers in France during the 1970s. The film was screened in the Un Certain Regard section at the 1994 Cannes Film Festival.In October, 2007, it was screened at the Pacific Film Archive in Berkeley, California, where Assayas spent a week in residence introducing and discussing his films with the audiences there. He was accompanied by his friend Jean-Michel Frodon, the current director of the journal Cahiers du cinéma, of which Assayas was once the director. Assayas said the film is autobiographical, reflecting upon his own teenage years. He went out of his way to cast actors who were not professionals or who, as in the case of male lead Cyprien Fouquet (playing Gilles), had never acted before, although female lead Virginie Ledoyen (playing Christine) had appeared in several films. The film was the result of a commission from French TV, which wanted a 52-minute film but allowed Assayas to make a longer version, after some negotiations.\n\nPlot\nGilles and Christine are teenagers from unstable homes. When they do some shop-lifting together she is arrested, but he gets away. She escapes from a mental institution and meets him at an abandoned house in the country, where a large group of rebellious teenagers are having a wild, all-night party. American rock music from the period is played prominently and has a very strong effect, especially \"Me and Bobby McGee,\" sung by Janis Joplin. Drugs are used, mainly pot and hash. As the party is winding down, Gilles and Christine escape even deeper into the countryside, searching for a commune where artists are said to live without electricity or running water. This is Christine's idea, but Gilles reluctantly goes along. A jolting conclusion shows us that, as Assayas puts it, \"Gilles' real life has now begun.\"\n\nCast\nVirginie Ledoyen - Christine\nCyprien Fouquet - Gilles\nLászló Szabó - Gilles's father\nJean-Pierre Darroussin - Inspector\nJackie Berroyer - Christine's father\nDominique Faysse - Christine's mother\nSmaïl Mekki - Mourad\nJean-Christophe Bouvet - Professor\nIlona Györi - Marie\nRenée Amzallag - The nurse\nJérôme Simonin - Vendeur de dynamite\nLaetitia Lemerle - Corrine\nAlexandra Yonnet - Copine blouson\nCaroline Doron - Copine blessée\nLaetitia Giraud - Christiane",6 "char_len": 49543,7 "document_hash": "8dd6fe379fdafe71e54c77c75374713a83a1c23b4349250ce549311a97a1f355",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "hotpotqa",12 "question": "Are both Frank Lloyd and Olivier Assayas American film directors?"13 }14 ]15}