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the sound recordings for 15 of her films between 1967 and 1998, including the films
Chronik der Anna Magdalena Bach (1967), Moses and Aron (1974) and Von heute, which are determined by live recorded music auf Morgen (1996), each of which broke new ground in integrating music into a film. An equally formative connection existed with the Tuscan town of Buti, which was used primarily as a location for the films based on Cesare Pavese's dialogues with Leuko, as well as with the Teatro Francesco di Bartolo located there, whose ensemble has participated in a total of ten films.
346:, for example by saying that the actor should not play his role in an illusionistic way, but that he should identify his activity as what it is: quoting. You have therefore very often worked with amateur actors who put their natural dialects in place of perfectly standardized dialogues. Nevertheless, their films are characterized by an unbelievable aesthetic rigor and formal rigor: every shot is precisely constructed, no cut is a concession to conventions. But Straub sees himself as a traditionalist and has often expressed his affinity for classic filmmakers such as
324:. With this film, which had little in common with other German films of its time, Huillet and Straub entered new stylistic and dramaturgical territory. The sensual center of the film, lacking in conventional film plot, is the music of Johann Sebastian Bach, which is presented here live in front of the camera and partly in original locations - an uncompromising and elaborate appreciation of music in films that Huillet and Straub in the later films Moses and Aron (1974) and From Today to Tomorrow (1996), both based on operas by
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the continuity of fascist-nationalist thought patterns, broken biographies, rearmament - and a certain brittleness in the acting made the first two films typical productions of the time at first glance, the alienating, low-modulation language of the actors, alongside the non-chronological editing technique in Not
Reconciled and the unconventional handling of the literary templates by Heinrich Böll, also instilled among colleagues an incomprehension and rejection. At the
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After Danièle
Huillet's death in 2006, their work became less controversial. Their work received new international recognition in New York, Paris, Madrid, Berlin, London, Lisbon and Tokyo. The retrospectives were preceded by the successful efforts of BELVA-Film (Jean-Marie Straub, Barbara Ulrich) to
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conventions of classical cinema as a set of values finds numerous breaks in the Straub-Huillet cinema. Another point of criticism is the alleged lack of emotion in their films. Lecture as well as gestures and facial expressions of the actors are expressionless, anti-dramatic and deliberately boring.
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What is special about the work of
Huillet and Straub is the often decades-long continuity that they have with many of their employees. They realized most of their work with two cameramen: William Lubtchansky (9 films) and Renato Berta (20 films). The sound engineer Louis Hochet was responsible for
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wrote about
Machorka-Muff: “One should read Böll's book because it has changed through Straub's film. It seems more naked and more serious because now with the last camera movement of the film it always points away from itself to Germany." If the choice of subjects - German post-war themes such as
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Despite some positive criticism, their films were and are often met with incomprehension. Especially in the first decades of Straub-Huillet's filmmaking, the accusation of amateurism was often raised against them from this side. A criticism based on the concept of continuity and the narrative
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read a statement written by Straub. It said that as long as there was
American imperialist capitalism, there could never be enough terrorists in the world. The statement caused protests at the festival and in the Italian press. The jury discussed withdrawing the award. Defenders of the
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nature, Jean-Marie Straub served as the public face of the couple: this has contributed to the widespread assumption that
Huillet's role in their filmmaking process was secondary. In reality, the two split their work equally, with Straub responsible for
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in 1965, the first two films were rejected by the selection juries and only shown in special events. The third film, Chronik der Anna
Magdalena Bach (1967), was made possible by an unprecedented "crowd funding", which was supported by
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for a long time and played the title role in Straub and
Huillet's film Othon (1969). The couple's films also found a fan base in the US early on, thanks in large part to the support of arthouse cinema operator
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in 2006. At the festival, Straub and
Huillet were awarded a special prize "for the invention of cinematic language in their entirety." They received late recognition of the film industry by Jury President
117:; 1 May 1936 – 9 October 2006) were a duo of French filmmakers who made two dozen films between 1963 and 2006. Their films are noted for their rigorous, intellectually stimulating style and radical,
228:. In the mid 1970s, they began producing films in Italy. Increasingly, they began splitting their time between Germany and Italy, as well as frequently collaborating with French and British producers.
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Straub and Huillet lived together for most of their lives. They had no children. Huillet died of cancer in Cholet on 9 October 2006, aged 70. Straub died on 20 November 2022, at the age of 89.
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All of the films of Straub and Huillet are based on other works: novels, operas, plays, and less conventional source materials, such as political writings. Their sources include writings by
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The style of all Straub and Huillet's films is that they always play with political commitment in different ways ("toute révolution est un coup de dés" - based on
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Their film has received positive responses from leading film critics: in Germany, for example, those of Enno Patalas, Frieda Grafe, Alexander Kluge,
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held the first digital Straub-Huillet retrospective, showcasing new restorations of fifteen of their films, including Straub's final feature film
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Since their first films Machorka-Muff (1962) and Not reconciled (1964) were made in Germany, Huillet and Straub were at the time included in the
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Straub-Huillet's cinema point out that Straub's private, polemical statements should not influence the appreciation of the cinematic work.
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The Art of Seeing, the Art of Listening: The Politics of Representation in the Work of Jean-Marie Straub and Daniele Huillet
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was very tedious. The struggle for funding lasted for ten years, until 1967. In 1968, they also made a short film starring
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Die Antigone des Sophokles nach der Hölderlinschen Übertragung für die Bühne bearbeitet von Brecht 1948 (Suhrkamp Verlag)
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Les Yeux ne veulent pas en tout temps se fermer, ou Peut-être qu'un jour Rome se permettra de choisir à son tour
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1166:'The Invention of Place: Danièle Huillet and Jean-Marie Straub's Moses and Aaron.' (2006) by
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Huillet and Straub often paid tribute to friends and colleagues, such as the filmmakers
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424:(Jean-Marie Straub and Danièle Huillet working on a film based on Franz Kafka's novel
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Landscapes of Resistance: The German Films of Daniele Huillet and Jean-Marie Straub
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politics. While both were French, they worked mostly in Germany and Italy.
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Danièle Huillet et Jean-Marie Straub « objectivistes » en cinéma
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In: M.Lefebvre (Ed.): Landscape and Film, London & New York: Routledge
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1051:"Sick of Popcorn Movies? Straub-Huillet Retrospective Offers an Antidote"
1024:"Once It Was Fire: Introduction to a Straub-Huillet Retrospective (1982)"
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story and their first collaboration. Their next film, the 55-minute
1235:(Jean-Marie Straub, 2009.3.9, Cinematheque française, Paris. 57'):
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997:"Jean-Marie Straub and Danièle Huillet • Great Director profile"
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From January 2019 through September 2020, the streaming service
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Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht
1186:, FilmmuseumSynemaPublikationen Vol. 26, Vienna 2016,
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They did not make a full-length feature until 1968's
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1176:(2009), by Benoît Tuquety, Lausanne, L’Âge d’homme.
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802:. They Shoot Pictures, Don't They. February 2016
133:(1999) are among the duo's best regarded works.
609:Der Bräutigam, die Komödiantin und der Zuhälter
189:. Straub spent his first few years researching
858:. University of California Press. p. 79.
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169:. He also worked in Paris as an assistant to
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919:: CS1 maint: multiple names: authors list (
825:. London: Cassell Illustrated. p. 367.
710:Paul Cézanne im Gespräch mit Joachim Gasquet
320:, Enno Patalas and the influential magazine
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542:The last joint-film by Straub and Huillet,
149:community at the time. He was friends with
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104:; 8 January 1933 — 20 November 2022) and
80:Learn how and when to remove this message
27:Duo of French filmmakers active 1963–2006
1127:"A Straub-Huillet Companion: "Sicilia!""
972:"Le cinéaste Jean-Marie Straub est mort"
750:Il Ritorno del figlio prodigo - Umiliati
564:restore and digitize their entire work.
226:The Bridegroom, the Actress and the Pimp
43:This article includes a list of general
1184:Jean-Marie Straub & Danièle Huillet
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1277:Jean-Marie Straub and Danièle Huillet
1125:Small, Christopher (20 August 2020).
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1296:The Chronicle of Anna Magdalena Bach
1228:Too Early, Too Late - by Serge Daney
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821:Schneider, Steven Jay, ed. (2007).
652:Toute révolution est un coup de dés
153:and contributed to his publication
887:M., Wiles, Mary (1 January 2012).
800:"1,000 Greatest Films (Full List)"
309:Berlin International Film Festival
49:it lacks sufficient corresponding
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1317:From the Clouds to the Resistance
629:Einleitung zu Arnold Schoenbergs
437:Where Does Your Hidden Smile Lie?
385:Where Does Your Hidden Smile Lie?
124:From the Clouds to the Resistance
1101:"A Straub-Huillet Retrospective"
891:. University of Illinois Press.
218:Chronicle of Anna Magdalena Bach
213:Chronicle of Anna Magdalena Bach
197:, an 18-minute short based on a
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1988:French people of German descent
1930:Hof International Film Festival
602:Chronik der Anna Magdalena Bach
387:, filmed during the editing of
277:. Many of their films, such as
2038:German-language film directors
2033:French-language film directors
2003:French experimental filmmakers
1233:Portrait de groupe avec Straub
937:Kehr, Dave (12 October 2006).
305:Oberhausen Short Film Festival
224:and his theatre troupe called
207:, was also a Böll adaptation.
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2048:Women experimental filmmakers
1993:French expatriates in Germany
416:or their long-time cameraman
379:. This method can be seen in
1936:New German Cinema: A History
1049:Hoberman, Jim (3 May 2016).
974:. Le Monde. 20 November 2022
939:"Danièle Huillet - Obituary"
2023:French women film directors
1998:French expatriates in Italy
470:and others. In France, the
440:, 2001) and Peter Nestler (
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659:Dalla nube alla resistenza
498:and especially its author
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482:, later the film critics
1849:Beate Mainka-Jellinghaus
1819:Rainer Werner Fassbinder
854:Toubiana, Serge (2000).
770:(2006) (TV) (uncredited)
768:Europa 2005 - 27 octobre
502:, who also directed the
222:Rainer Werner Fassbinder
141:Straub, who was born in
1598:Jacques Doniol-Valcroze
1345:The Death of Empedocles
64:more precise citations.
1925:Filmverlag der Autoren
1729:Cinémathèque Française
1670:Last Year at Marienbad
1576:Theoretical influences
1163:(2004) by Ursula Boser
695:Der Tod des Empedokles
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2018:French film producers
2008:French film directors
1904:Margarethe von Trotta
1899:Hans-Jürgen Syberberg
1022:Rosenbaum, Jonathan.
259:; letters written by
1942:Oberhausen Manifesto
1864:Helma Sanders-Brahms
1608:Joseph-Marie Lo Duca
1547:Jean-Pierre Melville
1157:(1995) by Barton Byg
1030:. Jonathan Rosenbaum
756:Une visite au Louvre
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280:Klassenverhältnisse
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1743:(2010 documentary)
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943:The New York Times
762:Quei loro incontri
686:(also released as
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544:Quei loro incontri
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1204:Jean-Marie Straub
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744:Operai, contadini
553:Catherine Deneuve
472:Cahiers du Cinéma
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265:Wassily Kandinsky
257:Arnold Schoenberg
235:Style and content
165:on the 1956 film
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639:Moses und Aron
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557:Giovanna Daddi
451:
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373:pre-production
359:
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344:Bertolt Brecht
253:Bertolt Brecht
249:Elio Vittorini
236:
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204:Not Reconciled
179:Robert Bresson
138:
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114:[ɥijɛ]
88:
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42:
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464:Harun Farocki
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460:Ulrich Gregor
457:
456:Helmut Färber
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429:
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422:Harun Farocki
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402:Peter Nestler
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369:mise en scène
365:
358:Collaboration
357:
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318:Heinrich Böll
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199:Heinrich Böll
196:
195:Machorka-Muff
192:
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176:
172:
168:
167:A Fool's Mate
164:
159:
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32:
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19:
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1738:
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1692:
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1652:
1644:
1636:
1628:
1561:
1522:Jean Douchet
1517:Jacques Demy
1479:Chris Marker
1474:Armand Gatti
1416:
1364:
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1294:
1287:
1276:
1232:
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1173:
1160:
1154:
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1130:
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1104:
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1079:
1070:
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1032:. Retrieved
1027:
1017:
1005:. Retrieved
1000:
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966:
954:. Retrieved
942:
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773:
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761:
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727:
721:
715:
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701:
693:
687:
681:
673:
665:
657:
651:
646:Fortini/Cani
645:
637:
628:
620:
614:
608:
600:
592:
586:
572:
566:
562:
543:
541:
537:
521:Richard Roud
519:and curator
500:Adriano Aprá
453:
441:
435:
425:
418:Renato Berta
410:Holger Meins
399:
395:
388:
384:
375:, texts and
368:
361:
341:
337:Holger Meins
330:
300:Enno Patalas
296:Frieda Grafe
285:
278:
272:
238:
230:
225:
211:
209:
202:
194:
166:
140:
128:
122:
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92:
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70:January 2016
67:
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1978:2022 deaths
1973:2006 deaths
1968:1936 births
1963:1933 births
1909:Wim Wenders
1859:Edgar Reitz
1844:Ulli Lommel
1809:Percy Adlon
1588:André Bazin
1567:Roger Vadim
1552:Luc Moullet
1542:Louis Malle
1537:Pierre Kast
1494:Agnès Varda
1464:Henri Colpi
1436:Éric Rohmer
1240:(in French)
978:20 November
722:Lothringen!
581:Filmography
574:Kommunisten
525:Pedro Costa
517:J. Hoberman
496:Filmcritica
480:Serge Daney
462:, later by
432:Pedro Costa
381:Pedro Costa
364:extroverted
245:Franz Kafka
175:Jean Renoir
127:(1979) and
62:introducing
1957:Categories
1884:Haro Senft
1801:filmmakers
1799:Associated
1662:Breathless
1613:Jean Rouch
865:0520225244
841:1347156402
783:References
509:Dan Talbot
377:rehearsals
322:Filmkritik
274:Europa '51
171:Abel Gance
110:pronounced
45:references
1717:Auteurism
1622:Key films
1456:Left Bank
1419:Directors
1352:Black Sin
1180:Ted Fendt
1080:KINOSLANG
951:0362-4331
915:cite book
907:929407638
874:612114619
450:Reception
446:, 2007).
430:, 1983),
352:John Ford
269:J.S. Bach
147:cinephile
137:Biography
119:communist
1734:Jump cut
1694:La Jetée
1359:Sicilia!
806:20 March
737:Sicilia!
690:) (1984)
390:Sicilia!
333:Mallarmé
130:Sicilia!
1918:Related
1705:Related
1182:(Ed.),
1007:9 March
956:9 March
427:Amerika
187:Algeria
97:French:
58:improve
1697:(1962)
1689:(1962)
1681:(1962)
1673:(1961)
1665:(1960)
1657:(1959)
1649:(1959)
1641:(1958)
1633:(1956)
1190:
1136:8 July
1110:8 July
1085:8 July
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1034:8 July
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724:(1994)
718:(1992)
712:(1989)
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698:(1987)
678:(1982)
670:(1982)
662:(1979)
654:(1977)
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642:(1975)
634:(1973)
625:(1972)
617:(1970)
611:(1968)
605:(1968)
597:(1965)
589:(1963)
267:, and
47:, but
1237:Vidéo
1208:IMDb
1188:ISBN
1138:2021
1131:MUBI
1112:2021
1105:MUBI
1087:2021
1062:2021
1036:2021
1009:2017
980:2022
958:2017
947:ISSN
921:link
903:OCLC
893:ISBN
870:OCLC
860:ISBN
837:OCLC
827:ISBN
808:2016
569:MUBI
515:and
490:and
478:and
466:and
458:and
412:and
350:and
298:and
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181:and
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