spb/wp30_uqo

1{2  "document_id": "lb_hotpotqa_e9348ea3d217789522ba17d5dd2c69c01bacc9d677c614a4",3  "family": "public_hotpotqa",4  "split": "test",5  "text": "Passage 1:\nJonathan Miles (filmmaker)\nJonathan Miles is a British independent filmmaker.  He studied at Surrey Institute of Art & Design.  Early in his career he directed music videos, for instance The Ride with Alec Empire. His short film The Queue from 2007 has been shown at a number of film festivals, in particular The End Of The Pier International Film Festival, where it won the award for Best Comedy Short 2008.  In addition to directing he has worked as a documentary editor on BBC films.  He now lives in Berlin.\nPassage 2:\nThe Meerkats\nThe Meerkats, also known as Meerkats: The Movie, is a feature-length 2008 British wildlife fiction film which anthropomorphises the daily struggles of a clan of meerkats in the Kalahari Desert. It was produced by BBC Films, and filmed by the award-winning BBC Natural History Unit. It is the debut directorial feature of James Honeyborne, previously a producer of natural history programmes for television. The worldwide premiere was held at the Dinard Film Festival, France in October 2008, expanding to a wide release the following week. The film was released in 2009, on 7 August in the UK. This was dedicated to actor Paul Newman, the narrator of the film, who died in 2008, shortly before this movie was released making it his final film role.\n\nPlot\nThe documentary follows the coming-of-age of a meerkat named Kolo who is forced to leave his home by a group of meerkats who want more territory. Lost in the African savannah, he tries to reunite with his family, but encounters large, fierce, and deadly creatures.\n\nProduction\nThe Meerkats was announced in November 2006 as BBC Films and The Weinstein Company agreed a co-financing deal for the film, with The Weinstein Company also handling international distribution. The year-long principal photography began on location in the Kalahari Desert, South Africa in the same month. It became the Natural History Unit's first feature-length wildlife fiction based on original material, and followed the successes of Earth (2007) and Deep Blue (2003) which were both companion pieces to BBC television series. The script was written by Alexander McCall Smith, author of many books set in Botswana. Paul Newman provides the narration, which was recorded at a studio near his home shortly before his death. The Meerkats was the final film credit of Newman's long career.Meerkat Manor: The Story Begins, a second feature-length wildlife film on meerkats, was also released in 2008. It was produced by Animal Planet, Discovery Films and Oxford Scientific Films, the makers of Meerkat Manor, but was not screened in theatres. BBC Films' Joe Oppenheimer, a producer of The Meerkats, has stated that the two films are very different in character (the BBC and Discovery originally planned to collaborate, but couldn't agree on a common ground). James Honeyborne has described The Meerkats as \"a stand-alone, blue-chip wildlife film from the ground up. It will be immersive. There will be a huge sense of place on a massive scale. You will really see real wild animals.\"\n\nAwards\nWinner, Grand Prix Earth, Special Award, Tokyo International Film Festival\nBest of Festival, Wild Talk Africa Film Festival\nWinner, Best Editing, Wild Talk Africa Film Festival\nWinner, Best Sound Design, Wild Talk Africa Film Festival\nNomination, Best Music, Wild Talk Africa Film Festival\nNomination, Best Script, Wild Talk Africa Film Festival\nWinner, Best Editing, Jackson Hole Wildlife Film Festival\nNomination, Best Writing, Jackson Hole Wildlife Film Festival\nWinner, Silver Teton, Jackson Hole Wildlife Film Festival\n\nReception\nWriting in The Guardian, reviewer Philip French noted that the \"nature movie made in the Kalahari desert has some good footage but is more Disney-anthropomorphic than Attenborough\".\nPassage 3:\nThe Gardener (2012 film)\nThe Gardener (Persian: باغبان,  Bāghbān) is a documentary film by Mohsen Makhmalbaf. It had its Asian premiere at Busan International Film Festival, its European premiere at Rotterdam International Film Festival, and North American premiere at the Vancouver International Film Festival. It is the first film in decades to be made by an Iranian filmmaker in Israel. The film has been shown in more than 20 film festivals and won the Best Documentary award from Beirut International Film Festival and the special Maverick Award at the Motovun Film Festival in Croatia. The film was selected as \"Critic's Pick of the Week\" by New York Film Critics Circle, \"Best of the Fest\" at Busan Film Festival by The Hollywood Reporter, and \"Top Ten Films\" at Mumbai Film Festival by Times of India, and its script was added to the Library of Academy of Motion Picture Arts and Sciences.\n\nSynopsis\nThe film is about an Iranian filmmaker and his son who travel to Israel to learn about the role of religion in the world. While the son goes out to the Wailing Wall, the Dome of the Rock and Christian sites, the father stays at the Baháʼí gardens to learn about a faith that came out of his own country—Iran. The film is similar to Gabbeh and The Silence in style.\nThe Gardener is set in the newly recognized UNESCO World Heritage Site, the Bahá'í World Centre buildings in Haifa and Western Galilee; and in various religious sites in Jerusalem.\n\nCast and crew\nProducers:\n\nScreenplay and director: Mohsen Makhmalbaf\nCinematography and editing: Maysam Makhmalbaf\nMusic: Paul Collier, Salar Samadi\nSound: Asad RezaiCast:\nRiriva Eona Mabi from Papua New Guinea\nPaula Asadi from Canada\nGuillaume Nyagatare from Rwanda\nTjireya Tjitendero Juzgado from Angola\nIan Huang from Taiwan and USA\nBal Kumari Gurung from Nepal\n\nFilming locations\nBaha'i Gardens in Haifa\nDome of the Rock in Jerusalem\nWailing Wall in Jerusalem\nChapel of the Ascension in Jerusalem\nBaháʼí holy places in Akko\nVarious cities in Papua New Guinea\n\nReviews\nThe Gardener has received mostly positive reviews by all critics and holds an 83% Fresh rating on Rotten Tomatoes and 64 MetaScore on MetaCritics.New York Times: \"An intimate, discursive inquiry into religious belief that opens to include questions about cinema…Mr. Makhmalbaf doesn’t make that etymological connection explicit in the movie, although as he rambles throughout the Baha’i gardens, his camera inching antlike close to the ground and then soaring birdlike over the grounds, he lyrically joins the spiritual with the terrestrial.\"The Hollywood Reporter: \"The Gardener marks the first time in decades—perhaps since the Iranian Revolution in 1979—that an Iranian filmmaker has shot a movie in Israel, and what it has to say about religion and world peace is as radical a statement as unconventional filmmaker Mohsen Makhmalbaf (The Bicyclist, Kandahar) has ever made...The deep spirituality it discusses so intelligently will appeal to open-minded viewers and should reach beyond festivals via culture channels...\" - Deborah Young, The Hollywood ReporterVariety: \"With their civilized discussion and amusing asides about the making and marketing of docus, the Makhmalbafs succeed in entertaining and engaging auds who are interested in the question of why people seek religion, and are willing to listen to all sides of a story.\" - Richard Kuipers, Variety (magazine)Rotterdam Festival Review: \"An Iranian master filmmaker and his son roamed around the gardens in Haifa and made their most striking film...Mohsen Makhmalbaf makes unusual films, and this may be his most unusual of all: an Iranian who makes a film in Israel - even those who don't follow the news will realise how usual that is...This is indirectly a story about the history of Iran, where an innocent ‘gardener's faith’ could not remain, and where Makhmalbaf, once a proponent of the Islamic Revolution, is also no longer able to make his films.\"Times of India: \"Exiled from his homeland, Iranian New Wave director Mohsen Makhmalbaf's film The Gardener explores how different generations view religion and peace. The film adopts an experimental approach of both father and son conversing while filming each other.\" -The Times of IndiaIranian Icons: \"This film shows two completely different views on the religion. The director camera tries to portrait the example of two different generation of Iran through this story.\" - Iranian IconVoice of Russia \"This film speculates the meaning of life and faith.\" - Swetlana Hochrjakowa, film critic (translated from Russian)The International Federation of Film Critics \"...the most radiant imagery in a Makhmalbaf film since the bright carpets of the nomadic Ghashghai people in the 1996 Gabbeh. It's God in Heaven meets 1950s MGM Technicolor: beauty, beauty, beauty. What Adam and Eve saw before Eve bit into the apple.\" - Gerald PearyThe Hindu: \"The grammar and discourse of this unusual film — driven by a search for peace and understanding — is simultaneously rational, intelligent, poetic, and above all intensely civilised.\"\n\nImpact\nThere are several controversies surrounding the film. BBC notes that this is Makhmalbaf's most controversial film to date.\n\nIranian media response\nBoth official and non-official Iranian media has been following and reporting on the story since Makhmalbaf first announced the film. Local newspapers accused him of selling out to the Baha'is and/or the western powers, and claimed that Baha'is had bought him a house in France.\n\nTravel to Israel\nIranians are not allowed to travel to Israel and thus Makhmalbaf and his team will be automatically sentenced to five years in prison should they ever return to Iran. The filmmaker also talks about a religion that is a taboo subject in Iran and has its own consequences, such as that received by Shirin Ebadi for taking up the case of this group.In addition, Mohsen's decision to present the film at the Jerusalem Film Festival in contravention of the BDS campaign caused some controversy. An open letter published on Jadaliyya urging him not to attend was signed by many prominent Iranians, including Arash Bineshpajouh, Tina Gharavi, Ziba Mir-Hosseini, Laleh Khalili, Hamid Dabashi, Fatemeh Keshavarz, Ervand Abrahamian, and Asef Bayat. The letter was also critical of Iran's state-sponsored oppression of the Baha’i community.A group of 250 social and cultural activists signed a letter to support him. Many Israelis appreciated that he came and presented his film. Adrina Hoffman of The Nation wrote that what shocked everyone was that he kept saying \"I love you.\" The film sold out for its initial screenings and other screenings were scheduled after the festival. Makhmalbaf responded on BBC, saying that boycotts do not change people's hearts, and dialog is a better way of understanding each other.\n\nRemoval from Iranian Cinema Museum\nThe president of the Iranian film department sent a letter to the head of the Iranian film museum to remove all of Makhmalbaf's films from the museum's archives because he has travelled to Israel and made a film about a taboo religion.Due to the treatment Makhmalbaf has received because of traveling to Israel to make the film, Oscar-winner Asghar Farhadi and many other filmmakers are wary of giving their awards to the Iranian Cinema Museum in fear of meeting the same fate.\n\nScreenings and awards\nAwards\nAsia Pacific Awards, Competition Finalist\nAcademy Awards, Considered \nTop Ten Films of 2012 Mumbai International Film Festival - by Times of India\n\"Pick of the Week\" by New York Film Critics Circle\nBeirut International Film Festival, Lebanon, October 2012 - Won Gold Aleph for Best Documentary\nMotovan International Film Festival, Croatia, 2013 - Won Maverick Award\n\nPremieres & special presentations\nBusan International Film Festival, Korea, October 2012 - World premiere\nRotterdam International Film Festival, Netherlands, 2013 - European premiere\nKosmorama International Film Festival, Norway, April 2013 - Lifetime Honoree Award\nMoscow International Film Festival, Russia, 2013 - Makhmalbaf as President of the Jury, Special PresentationOfficial Selections\n\nVancouver International Film Festival, October 2013\nNoor Iranian Film Festival, Best Documentary nominee, Los Angeles 2013\nArt Center Festival, Colombia, 2013\nJerusalem International Film Festival, Israel, 2013 \nMotovun International Film Festival, Croatia, 2013\nFestival Cinema Africano, Italy, May 2013\nVilnius International Film Festival, Lithuania, April 2013\nHong Kong International Film Festival, March, 2013\nTbilisi International Film Festival, Georgia, December 2012\nTrivandrum International Film Festival, India, December 2012\nChennai International Film Festival, India, December 2012\nKochi International Film Festival, India, December 2012\nTokyo filmex International Film Festival, Japan, November 2012\nMumbai International Film Festival, India, October 2012\nPassage 4:\nBBC Films\nBBC Film (formerly BBC Films) is the feature film-making arm of the BBC. It was founded on 18 June 1990, and has produced or co-produced some of the most successful British films of recent years, including Truly, Madly, Deeply, Alan Partridge: Alpha Papa, Quartet, Salmon Fishing in the Yemen, Saving Mr. Banks, My Week with Marilyn, Eastern Promises, Match Point, Jane Eyre, In the Loop, An Education, StreetDance 3D, Fish Tank, The History Boys, Nativity!, Iris, Notes on a Scandal,  Philomena, Stan & Ollie, Man Up, Billy Elliot and Brooklyn.\nBBC Film co-produces around eight films a year, working in partnership with major international and UK distributors. Rose Garnett is Head of BBC Film, responsible for the development and production slate, strategy and business operations.The company was founded in 1990 by David M. Thompson as a wholly owned but independent film-making company, based in offices in Mortimer Street, London. A restructuring in 2007 integrated it into the main BBC Fiction department of BBC Vision. As a result, it moved out of its independent offices into BBC Television Centre, and Thompson left to start his own film production company. BBC Film has been based at Broadcasting House in London since 2013. The company changed its name to BBC Film in 2020, and it has been announced that the Storyville documentary strand has come under its remit.\n\nProductions\n1990s\n1990 – Truly, Madly, Deeply\n1990 – Antonia and Jane (with Miramax Films)\n1991 – Enchanted April\n1991 – Edward II\n1991 – The Reflecting Skin\n1992 – Sarafina!\n1993 – The Hawk\n1993 – The Snapper\n1994 – Captives (with Miramax Films & Distant Horizon)\n1994 – The Hour of the Pig\n1995 – I.D.\n1995 – Angus\n1996 – Jude\n1996 – Small Faces\n1996 – Twelfth Night: Or What You Will\n1996 – Shine\n1997 – Twenty Four Seven\n1997 – I Went Down\n1997 – My Son the Fanatic\n1997 – Love and Death on Long Island\n1997 – Mrs Dalloway\n1997 – Mrs Brown\n1997 – The Relic\n1998 – Gods and Monsters\n1998 – Hard Rain\n1998 – A Simple Plan\n1998 – Black Dog\n1998 – The Governess\n1998 – Love Is the Devil: Study for a Portrait of Francis Bacon\n1999 – RKO 281\n1999 – A Room for Romeo Brass\n1999 – Mansfield Park\n1999 – Man on the Moon\n\n2000\nWonder Boys\nWild About Harry\nSaltwater\nMaybe Baby\nBilly Elliot (with Working Title Films)\nShadow of the Vampire (with Saturn Films)\nIsn't She Great\nLast Resort\n\n2001\nIris (with Miramax Films and Intermedia Films)\nBorn Romantic\nAbout Adam\nThe Claim\nLara Croft: Tomb Raider\n\n2002\nThe Gathering Storm\nAnita and Me\nDirty Pretty Things\nIn This World\nThe Heart of Me\nMorvern Callar\n\n2003\nThe Statement\nKiss of Life\nThe Mother\nSkagerrak\nMasked and Anonymous\nCode 46\nI Capture The Castle\nDeep Blue\nLara Croft: Tomb Raider – The Cradle of Life\n\n2004\nUndone (short)\nThe Accidental Perfectionist\nBullet Boy\nMillions\nRed Dust\nMy Summer of Love\nThe Life and Death of Peter Sellers (with Company Pictures)\nStage Beauty (with Qwerty Films and Tribeca Film)\nTrauma\n\n2005\nThe Undertaker (short)\nOpal Dream\nImagine Me & You\nMrs Henderson Presents\nA Cock and Bull Story\nMatch Point\nShooting Dogs  (co-production with UK Film Council)\nLove + Hate\nThe Mighty Celt\n\n2006\nNotes on a Scandal\nStarter for Ten\nScoop\nShiny Shiny Bright New Hole in My Heart\nFast Food Nation\nThe History Boys\nConfetti\nShoot the Messenger\nMiss Potter\nAs You Like It (in association with HBO Films)\nGlastonbury\nSnow Cake\nLife and Lyrics\n\n2007\nJoe's Palace\nThe Restraint of Beasts\nFour Last Songs\nCapturing Mary\nEastern Promises (distributed and co-presented by Focus Features)\nBecoming Jane\nEarth (co-production with Disneynature)\nGrow Your Own\n\n2008\nChurchill at War\nRevolutionary Road (co-production with DreamWorks Pictures)\nDeath Defying Acts\nThe Duchess\nBrideshead Revisited\nThe Boy in the Striped Pyjamas\nThe Other Boleyn Girl\nThe Edge of Love\nThe Meerkats\nIs Anybody There?\nMan On Wire (as BBC Storyville)\nShifty\nEasy Virtue\n\n2009\nNativity!\nThe Men Who Stare at Goats\nTormented\nFrequently Asked Questions About Time Travel\nThe Damned United (co-production with Columbia Pictures)\nIn the Loop\nBright Star (co-production with Warner Bros. Pictures, Pathé, Film Finance Corporation Australia, Pathé, UK Film Council, and Screen Australia)\nThe Boys Are Back (co-production with Miramax Films, Film Finance Corporation Australia, Tiger Aspect Pictures, and Screen Australia)\nAn Education\nFish Tank\nCreation\nGlorious 39\n\n2010\nThe First Grader (co-production with National Geographic Entertainment, Videovision Entertainment, & UK Film Council)\nMade in Dagenham\nTamara Drewe\nEdge of Darkness (co-production with Warner Bros. Pictures and Icon Productions)\nStreetDance 3D (co-production with Phase 4 Films, Vertigo Films, & British Film Institute)\nFreestyle (co-production with Phase 4 Films, Revolver Entertainment, Film London Microwave, B19 Media, and UK Film Council)\nAfrica United\n\n2011\nThe Awakening\nBrighton Rock\nWest Is West\nJane Eyre\nCoriolanus\nMy Week with Marilyn\nProject Nim\nThe Iron Lady\nSalmon Fishing in the Yemen\nWe Need to Talk about Kevin\nOne Life (as BBC Earth Films)\nThe British Guide to Showing Off\nIll Manors\n\n2012\nQuartet\nShadow Dancer\nSpike Island\nBlood\nGood Vibrations\nGreat Expectations\nIn the Dark Half\nA Running Jump\nStreetDance 2\nStrawberry Fields (co-production with Soda Pictures, Film London Microwave, Kent County Council Film Office, Screen South, Met Film Post, and UK Film Council)\nPerfect Sense\n\n2013\nPhilomena\nSaving Mr. Banks (co-production with Walt Disney Pictures)\nDom Hemingway\nAlan Partridge: Alpha Papa\nWalking with Dinosaurs: The Movie (as BBC Earth Films)\nBroken\nExhibition\nFlying Blind (co-production with Soda Pictures, iFeatures, Matador Pictures, Southwest Screen, Cinema Six, Regent Capital, The City of Bristol and Ignition Films)\nBorrowed Time (co-production with Film London Microwave, UK Film Council and Parkville Pictures)\nThe Challenger Disaster\nBig Men\nGinger & Rosa\nNow Is Good\nLondon: The Modern Babylon (co-production with Cinedigm, British Film Institute and Nitrate Film)\nThe Summit\nThe Sea\nKiss the Water (co-production with Virgil Films, Easy There Tiger, Slate Films, and Creative Scotland)\n\n2014\nMrs. Brown's Boys D'Movie\nA Little Chaos\nA Long Way Down\nThe Invisible Woman\nWhat We Did on Our Holiday\nEnchanted Kingdom (as BBC Earth Films, co-production with Reliance Entertainment, IM Global, & Evergreen Studios)\nPride\nMy Old Lady\nLilting\n\n2015\nFar from the Madding Crowd\nThe Falling\nWoman in Gold\nSuite Française\nTestament of Youth\nMr. Holmes\nX+Y\nBill\nBrooklyn\nThe Lady in the Van\nMan Up\nLondon Road\nBeing AP (co-production with Entertainment One, Irish Film Board, Northern Ireland Screen, and Moneyglass Films)\nThe Face of an Angel\n\n2016\nDavid Brent: Life on the Road\nAbsolutely Fabulous: The Movie\nFlorence Foster Jenkins\nSwallows and Amazons\nDenial\nMy Scientology Movie\nA United Kingdom\nThe Lovers and the Despot (as BBC Storyville)\nThe Levelling\nNotes on Blindness\nI, Daniel Blake\nThe Library Suicides (co-production with Soda Pictures, Edicis Films, S4C, Ffilm Cymru Wales and British Film Institute)\nThe Lighthouse\nThe Goob (co-production with Soda Pictures, iFeatures, Creative England, British Film Institute, and EMU Films)\n\n2017\nViceroy's House\nCity of Tiny Lights\nThe Sense of an Ending\nTheir Finest\nLady Macbeth\nVictoria & Abdul\nMindhorn\nBreathe\nEarth: One Amazing Day (as BBC Earth Films, co-production with Goldcrest Films International & SMG Pictures)\nApostasy\nSpaceship (co-production with Breaking Glass Pictures, iFeatures, Creative England, British Film Institute, Belly Productions, Parkville Pictures, and Trinity)\n\n2018\nOn Chesil Beach\nYardie\nThe Children Act\nThe Happy Prince\nOut of Blue\nIn Fabric\nHappy New Year, Colin Burstead\nGrace Jones: Bloodlight and Bami\n\n2019\nBlue Story\nDirty God\nLittle Joe\nStan & Ollie\nSorry We Missed You\nHorrible Histories: The Movie – Rotten Romans\nThe Aftermath\nThe Boy Who Harnessed the Wind\nThe Souvenir\nThe White Crow\nMonsoon\nJudy\nBe Still My Beating Heart (co-production with Creative Scotland, Scottish Film Talent Network, & barry crerar)\n\n2020\nNever Rarely Sometimes Always\nThe Nest\nSurge\nHis House\nMogul Mowgli\nMisbehaviour\nThe Roads Not Taken\nAmmonite\nSupernova\nLynn + Lucy\nAisha and Abhaya (co-production with Royal Opera House, Rambert Dance Company, Arts Council England, & Robin Saunders)\n\n2021\nAfter Love\nThe Mauritanian\nCan't Get You Out of My Head (TV series)\nPeople Just Do Nothing: Big in Japan\nEar for Eye\nThe Power of the Dog\nPirates\nThe Souvenir Part II\nThe Phantom of the Open\nCow\nBody of Water (co-production with Verve Pictures, Film London Microwave, British Film Institute, Lions Den Films, Bright Shadow Films, and Boudica Films)\nHere Before\n\n2022\nAisha\nAli & Ava\nBenediction\nGod's Creatures\nAftersun\nTriangle of Sadness\nThe Lost King\nAllelujah\nThe Eternal Daughter\nRussia 1985–1999: TraumaZone (TV series)\n\n2023\nGirl\nBlue Jean\nLuther: The Fallen Sun\nMedusa Deluxe\nRye Lane\nScrapper\nClub Zero\nFemme\nThe Old Oak\n\nForthcoming\nHoard\nThe End We Start From\nThe Iron Claw\nThe Salt Path\nTuesday\n\nSee also\nBBC\nPassage 5:\nRupert's Land (film)\nRupert's Land is a Canadian comedy film, directed by Jonathan Tammuz and released in 1998. The film stars Samuel West and Ian Tracey as Rupert and Dale McKay, estranged half-brothers on a road trip from Vancouver to Prince Rupert for their father's funeral. Rupert, who was raised primarily in England after his mother left their father to return home, has become a wealthy lawyer, while Dale, who remained in Canada, is a hard-nosed fisherman and small-time drug dealer, forcing the duo to overcome significant differences as they reconcile.The cast also includes Susan Hogan as Dale's mother Trudy, Gabrielle Miller as his girlfriend Shelley, and George Wendt as Bloat, a former friend of Dale and Rupert's father who owns and operates a rural marijuana farm commune.The film premiered at the 1998 Toronto International Film Festival.\n\nCritical response\nThe film received mixed reviews from critics. It was reviewed favourably by Glen Schaefer of The Province, who wrote that it was \"a funny ride that will ring familiar with anyone who's ever had to be in Pouce Coupe or New Denver by dawn, with not quite enough time or money to get there.\" Marc Horton of the Edmonton Journal was more critical, writing that \"Somehow, though, I never much believed in either their fights or their ultimate acceptance of one another. Perhaps it is because they are not all that easy to care about: Rupert loses a bit of twittiness and Dale softens, but it's too little too late. Still, there are the occasional moments of charm, and an ending that's marginally surprising, although painfully neat and tidy. In the end it's a sitcom, without the com.Geoff Pevere of the Toronto Star was more mixed, calling it bumpy but fitfully engaging. He praised West, Tracey and Wendt for their performances, but concluded that \"the shame is, the good parts tend to pass by like the moments of interest in an otherwise dull road trip: arresting at the time, but too few and fleeting to make the whole thing worthwhile.\"\n\nAwards and nominations\nThe film received five Genie Award nominations at the 19th Genie Awards in 1999, for Best Motion Picture, Best Director (Tammuz), Best Actor (West), Best Supporting Actor (Wendt) and Best Sound Editing (Jacqueline Cristianini, James Fonnyadt, Adam Gejdos, James Genn, Kirby Jinnah and Cam Wagner).The film won six Leo Awards in 1999, for Best Feature Length Drama, Best Direction in a Feature Length Drama (Tammuz), Best Performance by a Male in a Feature Length Drama (Tracey), Best Cinematography in a Feature Length Drama (Gregory Middleton), Best Editing in a Feature Length Drama (Roger Matiussi) and Best Production Design in a Feature Length Drama (Brian Davie). It was also nominated, but did not win, for Best Lead Performance by a Female in a Feature Length Drama (2; Miller, Hogan), Best Screenwriting in a Feature Length Drama (Graeme Manson), and Best Overall Sound in a Feature Length Drama.\nPassage 6:\nA Little Chaos\nA Little Chaos is a 2014 British period drama film directed by Alan Rickman, based on a story conceived by Alison Deegan, who co-wrote the screenplay alongside Rickman and Jeremy Brock. The film stars Kate Winslet, Matthias Schoenaerts, Rickman, Stanley Tucci, Helen McCrory, Steven Waddington, Jennifer Ehle and Rupert Penry-Jones. The film was financed by Lionsgate UK and produced by BBC Films. The second film directed by Rickman, after his 1997 debut The Winter Guest, as well as the last before his death in 2016, it was additionally the second collaboration of Rickman and Winslet after their 1995 film Sense and Sensibility. Production took place in London in mid-2013. The film had its world premiere at the 2014 Toronto International Film Festival as the closing night film on 13 September 2014.\n\nPlot\nKing Louis XIV of France assigns the design and construction of the Gardens of Versailles to his head landscape architect André Le Nôtre. Already overwhelmed, managing numerous large-scale projects, Le Nôtre interviews several other landscape designers to whom he might be able to delegate some of the work. One of the candidates is Sabine de Barra, who is that rare thing in the 17th century: an independent professional woman. \nWhen Sabine arrives on the palace grounds for her interview, she pauses to move a potted plant in the courtyard. André observes this from a window, and asks her, during the interview, if she prizes order in design. Sabine affirms her respect for landscape order, but when pressed suggests that she would rather create something uniquely French than follow classical and Renaissance styles. André reminds her that everything he has built and designed follows order. Sabine apologizes and sincerely expresses admiration for him and his work. André abruptly shows her the door; she leaves disheartened.\n\n André mulls over the candidates, under pressure to please the King. His assistant judiciously re-presents Madame de Barra's designs to him, prompting André to reconsider them. \nAndré surprises Sabine at her home that evening, and after admiring her seemingly untamed but magical garden, assigns to her the outdoor bosquet ballroom project at Versailles, which combines fountains and landscaping. His original plans require a costly fresh water supply; Sabine suggests continuously recycling water through the fountains using a reservoir. As work begins on her design, the original workmen make little progress; however, Sabine is offered another, better crew by one of her former competitors, and construction begins in earnest.\nA striking commoner, artlessly beautiful and fearlessly honest, Sabine attracts attention at court. She is befriended by the King's brother Duc Philippe d'Orléans and his wife Elizabeth Charlotte, Princess Palatine. \nSabine and André start a quiet, loving friendship, mutually attracted but not acting on their feelings due to André's marriage and Sabine and André's professional relationship. André is deeply moved by Sabine's passion and honesty; Sabine describes André to someone else as \"the most complete person I know.\" André has been enduring his wife Françoise's infidelities; Françoise insists that the key to his success is her relationships and influence at court. When she senses his interest in Sabine and warns him against an affair, he quotes to her her own words about their right to seek comfort elsewhere, becoming determined to pursue a relationship with Sabine.\nQueen Maria Theresa dies suddenly. Stunned at the loss of his wife, the King takes refuge in the gardens at the Château de Marly, among the pear trees. Sabine finds him there, initially mistaking him for the gardener with whom she had hoped to trade some plants. The King enjoys her warmth and forthrightness, and once she recognizes him, they continue their conversation as equals. He invites her to travel with him to the Palace of Fontainebleau.\nBack at the Versailles garden site, Françoise confronts Sabine, and states that André's interest in her is transient and won't last. Later that night, Françoise's lover, at her request, opens the reservoir's sluice gates during a powerful storm, flooding the worksite and destroying much of the earthworks. Sabine nearly drowns trying to close it, but André arrives in time to rescue her. The next morning, she works vigorously to mend the damage. That same day, the King visits the worksite, assesses the damaged project skeptically, but allows it to proceed. Afterwards, André finds Françoise's glove there. Realizing she is behind the sabotage, he confronts her with the glove and effectively ends their relationship.\nSabine is introduced around court by the Duc de Lauzun and the King's mistress, the Marquise de Montespan. Once the Marquise and her female courtiers discover that Sabine is widowed and has also lost her 6-year-old daughter, they share their own losses and welcome her into their company. \nThe Marquise formally presents Sabine to the King when he arrives. Sabine offers him a Four Seasons rose — the same found in the garden where they had met. Conversing about the nature of roses and their life cycle, beauty, hardships, and death, Sabine metaphorically defends Madame de Montespan, who has begun to lose the King's favor. Louis is again moved by Sabine's observations. \"A wise rose,\" he calls her, and takes her arm so that they may walk and talk further.\nAndré waits for Sabine outside her home that night, and they finally make love. In the morning, André finds himself alone in bed; Sabine is upstairs, traumatized by a recurring flashback of the day her daughter and husband died: prior to taking their daughter with him on a day trip, her husband revealed to Sabine that he had a mistress. Sabine saw that the carriage had a faulty wheel, learned from the footman that they were actually going to his mistress's, not on a business trip, and racing after them, tried to stop the carriage. It veered off track, toppling down a steep hill and killing both father and daughter. \nAndré finds Sabine mid-flashback, and convinces her to stop blaming herself for their deaths, calming her down. She asks him what will happen with his wife, and he says their marriage is over.  \"And what of us?\" Sabine asks. \"We will shape each other,\" replies André.\nAt the inauguration of Sabine's completed bosquet garden, the King and his court arrive and dance to the music of a hidden orchestra, as the fountains send water coursing down the tiers around the outdoor ballroom floor. It is clear that the garden design is a success, and the king is well pleased. After Sabine dances with the King, she and André join hands and leave to walk into the forest together. The camera pulls slowly back and above the entire grounds of Versailles, revealing the enormous sweep of its grandeur.\n\nCast\nKate Winslet as Sabine de Barra\nMatthias Schoenaerts as André Le Nôtre\nAlan Rickman as King Louis XIV\nStanley Tucci as Philippe, Duc d'Orléans\nHelen McCrory as Madame Le Nôtre\nSteven Waddington as Thierry Duras\nJennifer Ehle as Madame de Montespan\nRupert Penry-Jones as Antoine Lauzun\nPaula Paul as Princess Palatine\nDanny Webb as Claude Moulin\nPhyllida Law as Suzanne\n\nProduction\nThe story was conceived by Allison Deegan, who co-wrote the screenplay alongside Alan Rickman and Jeremy Brock. The film was financed by Lionsgate UK and produced by BBC Films.Production began in March 2013. Producer Zygi Kamasa of Lionsgate said that \"we are delighted to be working with the best of British actors and directors like Kate Winslet and Alan Rickman as we move forward in doubling our investment in British films in 2014.\" Rickman said: \"The film is not just frills at the wrists and collars. It's about people getting their hands dirty and building something in order to entertain the other world they serve. It's about how one world maintains the other, often at the cost of women.\"\n\nCasting\nOn 17 January 2013, it was announced that Winslet and Matthias Schoenaerts had been cast in the lead roles. Rickman had Winslet in mind for the lead role of Sabine de Barra and continued with her when two weeks into shooting, Winslet announced that she was pregnant. In addition to director, Rickman took the role of King Louis XIV. He explained that \"the only way I could do it was because in a way, he's like a director, Louis, so you kind of keep the same expression on your face. As a director, you see everything somehow. It's like a huge all-encompassing eye that sees everything, and it's able to cherry pick; ‘Move that,’ ‘Don't do that,’ ‘Do it this way,’ ‘Change this colour.’ And I don't know where that comes from, but it does, once you're given the job, and I have a feeling Louis probably would've been a great film director.\"\n\nFilming\nDespite being set in France, the entirety of filming took place in England. Principal photography commenced on 27 March 2013 and continued over eight weeks in Black Park, Cliveden House, Pinewood Studios, Blenheim Palace, Waddesdon Manor, Hampton Court Palace, Ham House, Ashridge, and Chenies Manor. Filming ended on 8 June 2013 in Richmond, London.According to Rickman, filming \"wasn't easy, though; throwing Kate into freezing water at 1 a.m., the carriage crash, scenes with 80 extras, tight schedules in venues like Blenheim Palace. It's a constant tap dance between control and freedom and of course the budget guides everything.\"\n\nHistorical accuracy\nSome of the characters are fictional, including Kate Winslet's Sabine. The film is set in 1682, but André Le Nôtre began work at Versailles in 1661. Le Nôtre was nearly seventy in 1682, twice the age he appears to be as portrayed by Schoenaerts. A garden much like that in the film exists at Versailles, the Salle de Bal or Bosquet de la Salle-de-Bal (the Forest Ballroom).\n\nMusic\nThe soundtrack was composed by Peter Gregson. It was the first feature film for Gregson, who previously composed music for a 2014 short film Every Quiet Moment. Veigar Margeirsson's 2008 composition \"Rise above\" was used in the trailer of the film but was not part of soundtrack album, which was released by Milan Records on 16 April 2015.\n\nDistribution\nPromotion\nBBC Films revealed footage as part of their Sizzle Showreel 2013 on 25 November 2013. First stills of Kate Winslet were released on 22 July 2014 with the announcement of film's premiere at 2014 Toronto International Film Festival. Three images from the film featuring Winslet, Alan Rickman, and Jennifer Ehle were released on 27 August 2014. A scene from the film featuring Winslet and Rickman was revealed on 9 September 2014. The full-length official trailer was revealed on 19 December 2014. The first poster and another trailer were released on 20 January 2015. On 11 June 2015, another scene from the film featuring Stanley Tucci was released.\n\nRelease\nThe film had its world premiere at the 2014 Toronto International Film Festival as the closing night film on 13 September 2014. It was then shown in gala screenings as Love Gala at the 2014 BFI London Film Festival on 17 October 2014. Rickman presented the film at Camerimage film festival in November 2014. The United States premiere was held at the Sonoma International Film Festival on 25 March 2015. It had a theatrical release in Australia on 26 March 2015 and in UK on 17 April 2015.It was initially set for a theatrical release on 27 March 2015 in the United States but was later pulled out. Focus Features finally gave the film a simultaneous theatrical and VOD release in United States on 26 June 2015.\n\nReception\nBox office\nAs of July 2015, the film has been opened in fourteen territories including Australia and UK and had grossed $10,084,623 worldwide.\n\nCritical response\nThe film generated mixed reviews from critics, with the cast being highly praised. As of June 2020, the film holds a 48% approval rating on review aggregator, Rotten Tomatoes, based on 92 reviews with an average score of 5.41/10. The site's consensus states that \"Stylish and well-acted without ever living up to its dramatic potential, A Little Chaos is shouldered by the impressive efforts of a talented cast.\" At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the film holds an average score of 51, based on 21 reviews, which indicates \"mixed or average reviews\".Catherine Shoard of The Guardian gave the film two out of five stars and wrote that \"Winslet manages emotional honesty within anachronistic confines, and Schoenaerts escapes with dignity.\" Mark Adams in his review for Screen International said, \"the film is a gracefully made delight, replete with lush costumes, fruity performances, love amongst the flowerbeds and even a little mild peril. Yes it lacks real dramatic edge and may be seen as a typical British period costume film, but it is also a classily made pleasure that will delight its target audience.\" David Rooney of The Hollywood Reporter felt that \"This decently acted film is agreeable entertainment, even if it works better on a scene by scene basis than in terms of overall flow.\"  Tim Robey in writing for  The Telegraph said in his review: \"If you see only one film about 17th-century French landscape gardening this year, it probably ought to be A Little Chaos, a heaving bouquet of a picture.\"David Sexton of the London Evening Standard gave the film a negative review, saying that \"Kate Winslet charms as a gardener at the Court of Louis XIV, but it's not enough to keep this inauthentic piece from wilting.\" Dennis Harvey of Variety criticised the film, calling it \"all too tidy as it imposes a predictable, pat modern sensibility on a most unconvincing depiction of late 17th-century French aristocratic life.\" Kaleem Aftab of The Independent gave the film two out of five stars, noting that while the performances were exceptional, the talents of the players were wasted. He wrote that \"it all starts off so promisingly\" and praised the camera work and language, but found it quickly fails as \"a melancholic look at grief\" where \"at least four different genres [clash] against each other, occasionally in the same scene\" and \"the romance seems to take place off-screen.\" She concluded: \"There was a 17-year gap between Rickman's first and second film and on this evidence it's easy to see why. While he can get performances out of the actors, he lacks command of pacing and plot.\"\nPassage 7:\nSalmon Fishing in the Yemen\nSalmon Fishing in the Yemen is a 2011 British romantic comedy-drama film directed by Lasse Hallström and starring Ewan McGregor, Emily Blunt, Kristin Scott Thomas and Amr Waked. Based on the 2007 novel of the same name by Paul Torday, and a screenplay by Simon Beaufoy, the film is about a fisheries expert who is recruited by a consultant to help realise a sheikh's vision of bringing the sport of fly fishing to the Yemen desert, initiating an upstream journey of faith to make the impossible possible. The film was shot on location in the United Kingdom in London and Newtonmore in Inverness-shire and in Morocco from August to October 2010. The film premiered at the 2011 Toronto International Film Festival. The film received generally positive reviews upon its release, and earned over $34 million in revenue worldwide.\n\nPlot\nFisheries expert Alfred Jones (Ewan McGregor) receives an email from financial adviser Harriet Chetwode-Talbot (Emily Blunt), seeking advice on a project to bring salmon fishing to the Yemen—a project being bankrolled by a wealthy Yemeni sheikh and supported by the Foreign and Commonwealth Office (the FCO). Alfred dismisses the project as \"fundamentally unfeasible\" because the Yemen cannot provide the necessary environment for salmon. Meanwhile, the British Prime Minister's press secretary, Patricia Maxwell (Kristin Scott Thomas), suggests the salmon fishing story to the Prime Minister's office as a positive story to help improve relations between Britain and the Islamic world.\nAlfred meets Harriet to discuss the project, but despite Harriet correcting his misconceptions of the Yemen environment, Alfred is convinced that the project is foolhardy. Alfred's boss, under pressure from Patricia, forces Alfred to accept a position on the project. Alfred considers resigning rather than ruin his reputation in the scientific community, but is convinced by his wife that they need his income and pension.\nHarriet arranges for Alfred to meet the Sheikh (Amr Waked) at his estate in the Scottish Highlands. The Sheikh is excited to meet Alfred as he is the inventor of the \"Woolly Jones\" fishing fly. While the Sheikh acknowledges that the project might sound crazy, he still believes that fishing is a noble pursuit that promotes harmony and requires immense faith.\nAfter his wife accepts a position in Geneva, Alfred devotes himself to the salmon project. Although painfully shy, he enjoys working with Harriet and they begin to make progress. Their enthusiasm is interrupted, however, when Harriet learns that her new boyfriend, British special forces Captain Robert Meyers (Tom Mison), is missing in action. Devastated, Harriet withdraws to her apartment. When Alfred visits her, she gets upset, thinking he just wants her to return to work, but then she realises he has come to comfort her, and the two embrace.\nMeanwhile, the Sheikh continues his work, despite radicals who accuse him of introducing Western ways to their region. Patricia informs the Sheikh that because of opposition to removing salmon from British rivers they will need to use farmed salmon. The Sheikh does not believe that salmon bred in captivity will survive and rejects Patricia's offer, ending the British Government's involvement in the project. Alfred resigns his government job to continue with the project.\nAfter a confrontation with his wife in which he realises that their marriage is over and that he is in love with Harriet, Alfred convinces the Sheikh to give the farmed salmon a try. As the two are fishing, a Yemeni radical attempts to assassinate the Sheikh, who is saved by Alfred casting his fishing line towards the assassin. Soon after, they return to the Yemen, where Harriet and Alfred continue to grow closer. After a moonlight swim, he asks her if there was a \"theoretical possibility\" of the two of them ending up together. She accepts with a kiss on his cheek, but says she will need some time.\nAt a press conference in the Yemen, with the Foreign Secretary, Patricia reunites Harriet with her boyfriend Robert who has survived the counter-terrorism operation. The PR stunt leaves Alfred heartbroken. That night, Harriet realises her feelings for Robert have changed, and when Alfred gets a text message from his wife asking him to return, he declines.\nThe following day the fish are released from their holding tanks. The fish swim upstream, and everyone celebrates the success of the project. While Robert and the Foreign Secretary fly-fish for the photographers, terrorists break into the dam upstream and open the flood gates. Although most people survive the resulting flash flood, the valley is left in ruins. The Sheikh blames himself for the tragedy, and vows to rebuild—this time with the support of the local community.\nThe next day, as Harriet prepares to leave with Robert, the latter says while she was the one thing on his mind that kept him alive during his mission, she doesn't owe him anything. She approaches Alfred to say goodbye, where he tearfully wishes her luck as he ponders what to do next. Just then, they see a salmon jumping from the water, indicating that some fish survived. Alfred tells Harriet he will indeed stay and help them rebuild. Harriet asks if he will need a partner—and Alfred realises that she is talking about herself. They embrace, and then hold hands whilst looking out over the river.\n\nCast\nProduction\nScreenplay\nThe screenplay for Salmon Fishing in the Yemen was written by Simon Beaufoy, based on the novel by Paul Torday. The epistolary novel won the 2007 Bollinger Everyman Wodehouse Prize, and the 2008 Waverton Good Read Award. Through a series of letters and documents, Torday creates a political satire that focused more on the \"art of political spin\" than on the force of the human spirit. Beaufoy enjoyed the challenge of transforming a fairly complex novel written in an unusual format—a series of emails, text messages, interviews, and testimony extracts—into a film. Beaufoy acknowledged, \"I just love adapting material that allows room for creativity and allows room for me to be very present in the process, I suppose. Sometimes when you’re adapting something classic and famous you have to adopt a different attitude, to something like Salmon Fishing where it had such an unusual narrative and such an unusual structure, that you got quite a free reign [sic] to do interesting things with it.\" Beaufoy integrated the emails, text messages, and chat texts into the film's narrative.\nBeaufoy's screenplay is decidedly different from the novel in several respects. The most obvious difference is that his press secretary is a woman, played by Kristin Scott Thomas, whereas in the novel, the character is a man, Peter Maxwell. Where the novel focuses on political satire, the film is more about a man who decides to change direction in his life. In the novel, Jones is noticeably older than the film character, and the romantic subplot with Harriet is kept in the background because of the political satire. By making Jones younger, Beaufoy added a \"quirky flair\" to the character that gives the audience a \"completely different experience in watching a man overcome himself to achieve happiness.\" Beaufoy noted, \"That's the difference when reading the book. You can perceive specific conflicts, but when it's onscreen you have to create something different, something the audience can see and feel and root for.\"\n\nCasting\nFor director Lasse Hallström, Ewan McGregor and Emily Blunt were his \"first choices\" to play the leading roles. \"They brought the lightness and the humour to the material,\" Hallström later observed. He also felt fortunate to get Kristin Scott Thomas to play the role of the bossy press secretary, Patricia Maxwell, recalling, \"I knew she could be funny, as most actors can, but she brought that seriousness combined with a bit of heart.\" For Hallström, it was that combination of humour and seriousness that allowed the actress to capture the balance between the film's sentiment and political satire. Egyptian actor Amr Waked was cast in the role of the sheikh. Waked has enjoyed major success and fame in his own country and throughout the Arabic-speaking world. English-speaking audiences may recognise him as the fundamentalist Muslim cleric in the 2005 film Syriana and the HBO series House Of Saddam.\n\nFilming locations\nSalmon Fishing in the Yemen was shot on location in London, Scotland, and Morocco. Scenes set in Yemen were filmed in Ouarzazate in the Moroccan Atlas Mountains. The restaurant scene in London was filmed at the Oxo Tower. The Sheikh's house in Scotland was filmed at Ardverikie House. Reshooting and water tank work was filmed at Black Hangar Studios in the UK. Principal photography started on 6 August 2010.\n\nMusic\nMusic for the film was composed and orchestrated by Dario Marianelli. The score features Leo Abrahams (guitar), Dirk Campbell (woodwind), Giles Lewin (oud), and the BBC Concert Orchestra, conducted by Benjamin Wallfisch. The original soundtrack album was released on 20 March 2012 by Lakeshore Records. The Scottish folksong \"Mairi's Wedding\" by The Clancy Brothers, which is played over one scene, and \"Where You Go\" by The Young Romans, the song played over the end credits, are not included on the album.\n\nReception\nCritical response\nThe film received generally favourable reviews from critics. In his review in the Los Angeles Times, Kenneth Turan called the film a \"pleasant fantasy\" and a \"charming film whose few attempts at seriousness are best forgotten or ignored.\" Turan praised the performances of Emily Blunt and Ewan McGregor, concluding\n\nBlunt and McGregor are two of the most gifted and attractive actors working today, able to play off each other with great style, and when they invest themselves in these amusing characters they bring to life the film's very contrived plot.\nIn her review for The Washington Post, Ann Hornaday gave the film two and a half out of four stars, calling the film an \"absurdist but gently winning romantic comedy\" that \"works a strange kind of wonder\". Hornaday praised the director's \"assured hand and feather-light touch\", as well as the acting performances by Ewan McGregor and Emily Blunt, who finds \"an easygoing rhythm with her leading man\". Hornaday continued:\n\nIt's the serendipity of creative juxtaposition that Hallström is clearly after in Salmon Fishing in the Yemen, from Scott Thomas spiking the honey with dollops of venom to the fabulous kilts and kaffiyehs worn by the sheik's bodyguards at his rustic Scottish redoubt. Salmon Fishing in the Yemen is less a classic fish-out-of-water tale than a fish-in-strange-waters tale, a study in diametric opposites that finds unexpected synchronies and moments of almost mystical harmony. Viewers who take the sheikh's advice and suspend their disbelief, even for a moment, may well find themselves hooked.\nHornaday found Salmon Fishing in the Yemen a \"surprisingly lush, endearing little film, in which a swelling sense of romanticism thoroughly banishes even the most far-fetched improbabilities.\"\nIn his review for The Telegraph, Robbie Collins gave the film three out of five stars, calling it \"cinema at its most easily digestible\" with a cast that is as \"unthreateningly attractive as its sense of humour is cosily inclusive.\" Collins concluded that Salmon Fishing in the Yemen is a \"disarmingly nice hour and three-quarters of gentle romance and even gentler comedy.\"The film received some negative reviews. Peter Bradshaw from The Guardian, who gave the film two out of five stars, wrote that it \"feels as if you've seen it many times before\". According to Bradshaw, the weakest scenes of the film involve the ferocious government PR chief (Kristin Scott Thomas), with \"much lip-pursing and eye-rolling, but nothing funny or believable in the script for her to say.\"On the review aggregator website Rotten Tomatoes, the film holds a 67% positive rating among critics, based on 153 reviews. The critic consensus states: \"Quirky and a little reserved, Salmon Fishing in the Yemen is nonetheless a charming little romantic drama sold by some strong central performances.\" The film holds a score of 58 on Metacritic, based on 35 reviews.\n\nBox office\nAs of June 2012, the film has grossed $34.6 million.The film opened in 18 cinemas so in the United States on 9 March 2012, taking in $225,000 for the three-day weekend. The film expanded to 483 cinemas by the end of March, when it had grossed over $3 million.\n\nAwards and nominations\nIn 2012, the film was nominated for the European Film Awards People's Choice Award.\nThe film was also nominated for three Golden Globe Awards: Best Motion Picture – Musical or Comedy, Best Actor – Motion Picture Musical or Comedy for McGregor, and Best Actress – Motion Picture Musical or Comedy for Blunt.\n\nSee also\nWater supply and sanitation in Yemen\nPassage 8:\nCompany Pictures\nCompany Pictures is an independent British television production company which has produced drama programming for many broadcasters. It was set up in 1998 by Charles Pattinson and George Faber, colleagues at BBC Films. Their first film was Morvern Callar, which was credited as a co-production with BBC Films as they had begun developing it while still employed there. In 2003 Company Pictures became part of All3Media. The founders, Pattinson and Faber, left in 2012 to set up another independent production company, and  John Yorke became managing director until 2015. He was succeeded by Michele Buck, former joint managing director of Mammoth Screen.For both artistic and fiscal reasons, when producing the TV series The White Queen, Company Pictures entered into collaboration with a Flemish production house. This enabled them to film in the medieval cities of Ghent and Bruges, while receiving tax-breaks as a European co-production and for investment in Flanders.\nPassage 9:\nL (film)\nL (Learning) is a 2011 Greek comedy-drama film directed by Babis Makridis in his debut, and written by Makridis and Efthymis Filippou, based on an original idea by Yorgos Giokas. It stars Aris Servetalis as a 40 year old man whose life rapidly changes over the course of a single day.\nMakridis had previously produced a short film, The Last Fakir (2005), which received the Newcomer's Prize at the 2005 International Short Film Festival in Drama. L, his first feature film, was the first Greek selection to compete at the 2012 Sundance Film Festival (19–29 January 2012) where its international premiere took place. It was also nominated to compete in the official Tiger Awards competition in the International Film Festival Rotterdam (25 January – 5 February 2012). The film was nominated for Best Script award at the Hellenic Film Academy Awards. A six-minute extract was first released at the Work Progress Section of the Karlovy Vary International Film Festival, at the Czech Republic in July 2011.\n\nPlot\nA Man lives in his car. He is 40 years old and although he does not have a lot of free time, when he does, he chooses to spend it with his family. He meets his wife and two children at a specified day and time in car parking lots. His job is to locate and bring the finest honey to a 50-year-old man. A New Driver shows up and the Man gets fired. The Man's life changes and he finds it absurd that no one trusts him anymore.\n\nCast\nAris Servetalis as the Man\nMakis Papadimitriou as the Black Rider\nYannis Bostantzoglou as the Boss\nEleftherios Matthaios as The Bear\nNota Tserniafski as the Wife\nStavros Raptis as the Friend\nThanassis Dimou as the New Driver\nChristoforos Skamnakis as the Yachtsman\nPavlos Makridis as the Son\nNatalia Tserniafski as the Daughter\nAlexis Kanakis as Motorbiker\nAntonis Iliakis as Meteor\n\nProduction\nFilming\nFilming took place during March and April 2011 in outdoor locations in Attica, Greece and additional filming took place at the end of July 2011. Filming was concluded within 27 days.\n\nTechnical information\nThe movie was filmed in 35mm with an Arriflex BL camera, is 87 minutes long, in colour, sound Dolby SRD, language Greek with English subtitles, 1:85:1 format, edited in Avid.\n\nProduction credentials\nDirected, by Babis Makridis\nScript, Efthymis Filippou Babis Makridis, based on an original idea by Yorgos Giokas about a man who lives in his car\nLocation Manager, Dimitris Chalkiadakis\nLine Producer, Yorgos Papadimitriou\nSets, Dafni Kalogianni\nCostumes, Dimitris Papathomas\nSound, Stefanos Efthimiou\nMixing/Sound Design, Costas Fylaktidis\nMusic, Coti K\nEditor, Yannis Chalkiadakis\nDirector of Photography, Thimios Bakatakis\nExecutive Producer, Peter Carlton, Christos V. Konstantakopoulos\nProduction, Beben Films (Amanda Livanou, Babis Makridis)\nCo Production, NOVA, Feelgood Entertainment, Faliro House Productions, Top Cut, Modiano S.A., Dennis Iliadis, Efthymis Filippou, Yannis Chalkiadakis, Thimios Bakatakis, Yorgos Papadimitriou, Dimitris Papathomas, in association with Warp Films and the support of the Greek Film Center.\n\nRelease and distribution\nThe movie was released in Greek movie theaters in February 2012 by Feelgood Entertainment movie distribution company.\n\nFestivals\nSundance Film Festival 2012 . Official selection world drama competition.\nRotterdam Film Festival 2012 . IFFR's Tiger Awards Competition.\nCopenhagen Film Festival 2012. Official competition for New talent grand pix\nIndielisboa 2012. Official Competition.\nSeattle International Film Festival 2012. New Directors Competition.\nMelbourne International Film Festival 2012. Competition Telescope Section.\nMumbai Film Festival 2012. International Competition.\n42 Molodist. Kyiv Film Festival 2012. International Competition. WINNER THE GRAND PRIX OF MOLODIST\nArizona Underground Film Festival 2012. International Competition.\nFestival International du Film Indépendant de Bordeaux 2012. International Competition.\n36o São Paulo International Film Festival. New Directors Competition.\nShadowline Salerno 2012. Official Competition.\nSydney Film Festival 2012. Section Push Me to the Edge\nD' A Festival Internacional de cinema d'author de Barcelona 2012.\nIstanbul Film festival 2012. At a special section called \" What's happening in Greece?\"\nKarlovy Vary 2012. Section Another View.\nStockholm Film Festival 2012. Section Twilight Zone .\n19th Greek Film Festival 2012 (Melbourne).\nEurasia Film Festival 2012. Section Cinema bridge: East\n23 Ljubljana Film Festival 2012. Section Panorama\nSevilla Festival de Cine Europeo. 2012. Section: Focus Europa : Greece.\n27º Festival international de cine de mar del plata FESTIVAL INTERNACIONAL DE CINE DE MAR DEL PLATA\n18ο Vilnius International Film Festival Lithuania Programm Discoveries\n\nWords about L\nFILM DE CULTE\nFLIX\nFLIX GR\nCUEDOTCOMFESSIONS\nTHE LIMERICK REVIEW\nQUIET EARTH\nALTERNATIVE CHRONICLE\nSUNDANCE FILM FESTIVAL\nSBS.COM.AUSTRALIA\nHOLLYWOOD REPORTER\n\nExternal links\nThe official movie blog\nL at IMDb\nL official facebook page\nL official site",6  "char_len": 58017,7  "document_hash": "047ea8da9640b100f94baf72b0ee1a637bf9e1105ec6ae1e6b7795e89f4a4ebc",8  "questions": [9    {10      "question_id": "q00",11      "qtype": "hotpotqa",12      "question": "In what year did the Tornoto International Film Fesitval premiere a movie produced by BBC Films?"13    }14  ]15}