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Child 44

Tepid and caricaturesque, despite its potential
While having a high-level casting, a quite interesting subject (Stalinist USSR State hides a serial killer's children murders because acknowledging the crimes would damage official ideological speech about crimes existing only under capitalism and not under Bolshevism) and being technically well shot, this flick that too serious drawbacks to accomplish a good outcome. First of all, it is unbelievable that instead of making the actors and actresses speak Russian (what would be the ideal, as the characters are doing that in the story) but also instead of making them speak normal English as in 99.9% of Hollywood productions, they though that is would be a clever idea if everybody spoke English with a ridiculous exaggerated Russian accent. Generally, accents appear in a film to contrast native speakers with foreigners, it is nonsense that all characters speak English with that accent. This caricaturesque approach off corse is extended to all depiction of Soviet Union, as expected, with the most vile soldiers, widespread sadness, greyish dark palette imagery, and so forth. According to Wikipedia, this led Russian minister of culture Vladimir Medinsky to criticize (reasonably, I must add) that Soviet Union is depicted similarly to how Tolkien describes Mordor in The Lord of the Rings. The flaws in the film are not only those linked to its Rambo/James Bond/Rocky Balboa way of portraying USSR. The movie may also be critisized for its incredibly unnecessirily long length. As a matter of fact, there is too many parallel minor events that do not really contribute for the main plot, for character building or for anything eles, just turning the movie long-winded and not engaging. Also, final part is quite generic and full of clichés.

Bucho de Peixe

Fantastic horror in a harsh sexist water environment
This short film has been released in Tiradentes Film Festival, in Brazil, also with free online availability. It would be a great socially referenced horror film grounded in Brazilian folklore if it had some minor adjustments. Although very short, it is a little sluggish in the beginning. Afterwards, events happen too fast, without a proper development, what also makes the outcome be a little confusing. Anyway, it is very striking (harsh, a strong film with rape culture as issue) and quite atmospheric. It deseved a larger length in the middle and a smaller one in the very beginning, besides a more explicit ending.


Cuban short film with a Brazilian touch
A Brazilian girl from Fortaleza is living in Cuba during Covid pandemic. There is a chance do go back to Brazil, in a special flight, as her roomate/girlfriend is being informed. However, the Brazilian girl wanted to remain in Cuba. While she is still there, she sends messages to her nephew as if she were out of the earth, in another planet. Nice Cuban movie, partially black and white, partially coloured, mostly spoken in Spanish but also with many lines in Portuguese with Ceará accent. In a short story, more focused in the environment and atmosphere than in dramatic events, there are glimpses of Cuban life and Brazilian issues.

The Childhood of a Leader

Not a proper way to discuss Facism
I like Liam Cunningham and Bérénice Bejo very much, and it is also necessary to say that cinematography and art direction are quite good in The Childhood of a Leader. However, all those qualities are not enough for delivering a good movie. It is definitely not. Not only because of its sluggish boring pace, with different events of varied interest that do not compose together a deep portrait. Perhaps, the very general idea is even worse than that. The script was supposedly adapted or inspired in a story by Sartre, which I have never read, and, then, I do not know if French thinker shared the filmmaker's sins. Anyway, the very idea that a fascist leader eventually follows his authoritarian steps due a permissive education and upper-class family dysfunctional relationship during his coming-of-age years is a bizarre, stupid and childish understanding. I could not understand if fictional Prescott - who director Brady Corbet clarified that was neitler Hitler nor Mussolini - became a Füher or duce in France, Hungary, the United States or anywhere else, and I believe that confusion is intentional, but I do know that fascism does not rise because there is an individual with Prescott's traits and that has been mistaken for a girl. Addressing psychologically fascism as consequence of a troubled mind of a leader is no more intelligent and mature than portraying Nazis as zombies, vampires os extraterrestrials, as mainsteam popcorn flicks often do. We know that Pattinson's character was anti-Islamic and anti-Semitic, but even his possible harmful personal influence over the kid does not appear in the film (differently from the boy's precocious sex drive towards Stacy Martin's character, for instance). Additionally, the general and widespread (not just circumscribed in the family's personal circle) jingoist and racist prejudice feeling in society - and the hatred for the humiliation of the Versailles Treaty - would have been focused on if it were a consistent film about Fascist genesis. To resume, the choice of a horror music score (composed by Scott Walker) does not contribute for acknowledging this movie's political seriousness either.

Entre tinieblas

Great heretical gem by Almodóvar
Almodóvar has always been perceived as a controvertial, flippant and innovative filmmaker, who always includes in his dark humnor melodramatic movies uneasy issues such as homosexualism and transgender, a bad portrait of Catholic Church, family relationships, police and military authoritarianism in Spain, and so forth. Despite all that, hid did adapted his cinema to mainstream taste and commercial acceptance, what becomes clear by watching his early films and comparing them to his most recent productions or to the ones from the 90's, when he became a world star inside the seventh art. This "Dark Habits", his very "first film to have a proper producer and be made for a proper film company, rather than be made on the hoof" according IMDB, was, as the same database added, taken at distance by the director himself "as he felt that he had to bow to commercial considerations". That is a pity, as the movie managed to have together the rebel spirit of the first films but with a much better techinical outcome, similar to his more mature cinematography. "Dark Habits", with its bizarre situations, almost surrealist events, and striking characters, is provably the most heretical of all the movies Almodóvar has made mocking and criticizing the Catholic Church. As describing details about the script and the characters (most of them being nuns) would be spoiler, I will not give further information (but I will just say that I laughted a lot with sister Estiercol's obsession and with Carmen Maura's performance either feeding or drumming). Though, there are two dated drawbacks that may be criticized: a racist gag (the "Tarzan story") and an improper way to handle wild animals (there is a circus tiger!). The movie is remarkable, anyway, and must be put in the same shelf where Almodóvar's best films are placed.

Peçanha Contra o Animal

Police camp dark comedy
Not everything works in this medium-length camp dark humor crime TV movie, and many jokes may be seen of bad taste, seeming to be written by a male teenager, but it made me laugh loud. Besides the gags involving lack of education (by rhe policemen), harsh periphery underworld (crime, prostitution, and so far), football culture in Rio de Janeiro, and dropping (deseases, sperm, fart...), there are also some jokes directed to Bolsonaro years, making references to illegal police/militia activities and to charismatic church involvement with scientific negationism towards clorochine usage. The spoof elements of horror and thrillers are nice. Corrupt police, involved in illegal activities, prejudice, disrespect for rule of law and human rights, is subject of many jokes, but it is a little ambiguous if it happens in a critical or relativising way. The macho ethos is mocked too, anyway, what is funny.

Coming 2 America

Zamunda deserved a better sequel
I see no problem in making a sequel for excellent Coming to America after three decades, and, as a matter of fact, I was anxiously expecting for it since it was announced. The presence of many of the very same actors and actresses reprising their original roles is also nice and the right thing to be done in a movie like this. I also like seeing Eddie Murphy (and Arsenio Hall), under impressive makeup, playing various minor roles; and here they are (back) as seer Baba, Clarence the barbershop owner, Morris the barber, Reverend Brown, and singer Randy Watson, besides King Akeem and Semmi. So, is there any problem? Unfortunately, yes: it is a quite bad flick! Mostly unfunny and cheap jokes, unbearable proliferation of annoying and ridiculous musical scenes, multiple stereotypes, stupid Wakanda spoof. Quite disappointing. Poor script and poor direction. On the other hand, not so important but I shall mention that costume design is very good.

O Beijo da Mulher Piranha

In This Jean Garret late film, there is a lot of hardcore sex, but there is also a story!
In the 70's and 80's, there was a very active exploitation film production pole in São Paulo named Boca do Lixo. Azorean filmmaker Jean Garret was one of the most important in Boca do Lixo, making, among others, good movie Excitação and terrible film Possuídas pelo Pecado, both of which I had watched before. While there was also in Boca the production of violent flicks, the most recurrent trait was actually the presence of a lot of sex scenes. Indeed, there was a Brazilian genre of sexploitation comedy called Pornochachada, and an important part of those films have been made in Boca do Lixo. When that production faced a great crisis, with a shrinking audience, its films moved from softcore to increasingly explicit sex. O Beijo da Mulher Piranha (the title is a joke with a good and important film from the year before by Héctor Babenco, Kiss of Spider Woman) is an example of those hardcore films produced in Boca do Lixo in aforementioned years of decay. However, Garret was a skilled director and his technical abilities appear in the way he edits and shoots non-sex scenes. Anyway, there is a lot of sex here. The ratio of explicit sex scenes and non-sex scenes is similar to a regular pornographic film. In this medium-length 68-minute flick, there are nearly 11 minutes of explicit sex that is totally irrelevant for the story, 25 minutes of sex between two or more important characters, six minutes of sex with a piranha fish (!!) and one additional minute of single sex with a washing machine (!!!). Besides Garret's concern about the formal elements of his late sexploitation movie, he also brought some story to it, and I shall admit: it is narrow, absurd, exploitation-biased, not credible, and developed in very few minutes (just sum the minutes without explicit sex), but it was imaginative and amusing. It tells the story of a police inspector who investigates the weird death of a detective novel writer. The latter, in order to help an old friend he had not met for many years, went to São Paulo. There, he found a vamp woman, who could be placed somewhere between Homer's Odissey nymph Calypso and the demon Succubus. Oh, there is also a piranha fish...


Bad and generic
I expected to watch a historic epic in Roman Britain, but it is just one more generic action film Holywood produces at hundreds as if it were a candy factory, just changing the artificial flavour: Rome, space, future dystopia, fake Greek mythology, Vikings, Egypt, stone age... They all have the same silly jokes, the same high body count with spitting blood, the same ungrounded romance just for providing one, the same contemporary Anglophone dialogues, the same lack of concern about even a slight historic accuracy. This flick is just one more of them, completely not credible, looking more like a Dungeons & Dragons roleplaying game than something that loosely resembles Roman Empire. Indeed, Gorlacon seems much more the name of an orc than of a Pict...

Rytmus v patách

Watchabable but a little disappointing
Although not properly bad, and despite having mostly a nice art direction and acting, the TV film is tepid, shallow and seems to endure much more time than it would be necessary (particularly considering there is not a deep approach). While the visual idea of linking each character to how he/she is perceived by political police (with typewriter lettering), and there is an adequate concern with actual Stalinist paranoia by the regime rulers and agents, the movie is not consistent in its portrayal of authoritarianism, and keeps a pro-capitalist (instead of specifically pro-democratic) bias, noticed in quotes such as "I want beautiful clothes" for a character who wants to emigrate to the United States. Script should have been much more sophisticated, without so much caricature, with more realistic characters. One does not need to make right-wing propaganda in order to portray the lack of civil and political rights in Czekoslovakia in the 50's.

Amor Bandido

Sexploitation underworld crime drama thriller in Rio de Janeiro
Very good film by Fábio Barreto, a sexploitation underworld crime drama thriller in Rio de Janeiro. With excellent performances of Paulo Gracindo and Cristina Aché, good cinematography and a very engaging story, it has to parallel segments that merge while the film advances. Inspector Galvão, an evil harsh policeman used to torture just like his colleagues during military dictatorship, has a longstanding rupture with his daughter, who was turned into a prostitute in a strip club in red light area of Copacabana. The veteran cop is also engaged in capturing a serial killer of taxi drivers. On the other hand, she starts a toxic but effective affair with the misogynous former lover and pimp of a transgender roomate of hers. The bizarre story written by José Louzeiro and Leopoldo Serran works very well, and this is one of the great Brazilian movies from the 70's in my opinion.


Great dark comedy/drama/road movie about important things
This is a very nice film that deals with an important issue but does it in an amusing way! It does it by alternating between drama and dark comedy, and also within a road movie stucture, despite the short distances crossed throughout the story by the grandma and her grandaughter. It is a film about family, about love relations, about sexuality, about motherhood, about responsibilities and empathy about ageing. Casting provides great performances (Lily Tomlin, Julia Garner, Judy Greer, Marcia Gay Harden, Sam Elliott), and Paul Weitz not only directs very well but also has written awesome dialogues.


One of the strongest war films ever, released just 8 years after Hiroshima bombing
This sad and strong movie, quite expressionist and reminding a documentary, was made just eigth years after USA atomic bombing of Hiroshima. It depicts the destruction of war in a so desperate and degrading way, with harsh images of tragedy and sounds of scream, that perhaps only Elem Klimov's Come and See overcane it in the history of cinema. Although pace is perhaps more sluggish than the ideal, Hideo Sekigawa has anyway an amazing sucess in using sound, working with broad spaces, and coordinating tens of thousands of extras, including many children, with remarkable and quite expressive performances of them. Hiroshima's hellscape with a multitude of dirty flabbergasted hobbling people on dispair and in tattered cloth surrounded by dead bodies reminded me not only of Come and See, but also of paintures such as Candido Portinari's Retirantes and Théodore Géricault's The Raft of the Medusa. The movie is able to cause deep emotions, by the combination of good soundtrack, striking cinenatography and very moving acring. It is one of the most important pacifist films ever made, not only for showing, without filters, the horror that is the reason for armed forces exist, but also for portraying their ridículous behavior and concerns.

Das dunkle Paradies

Greater murder mystery / cop film from Austria
Very good Austrian murder/police movie. Well directed, written and acted, with good cinematography and a nice surprising story, with well devised plot twists. The opening scene is excellent, presenting the scene of crime in a long take with no apparent cut until the very first and important cut. Among all good actors and actresses, the great performance of Stefanie Reinsperger in the leading role may be highlighted. The script has good dialogues, a structure that keeps spectator's interest and adds discreetly elements that will be important for the convincing ending, and brings many important subjects through the interaction of its well developed characters. Besides the good murder mystery plot, the film also addresses important issues, such as queer affection, diverse family structures, conservatist hypocrisy, corruption and power laying above the law and the rights, the difference between "distinguished" people and the "expandables" in hierarchical unfair society, and the recurrent idea that a former criminal may be considered forever as an evil and non-recoverable person. Cogratulations for Austrian TV ORF Landkrimi film series.

Histórias Que Nossas Babás Não Contavam

Sexploitation parody of Snow White
A famous sexploitation (Brazilian 70's and 80's genre Pornochanchada) parody of Snow White and the seven dwarfs, full of unfunny gags on sex, on homosexualism and even on sexual harassment. On the other hand, in the role of Clara das Neves ("snow white" in Portuguese), beautiful actress Adele Fátima (who starred several pornochanchadas) is better than ever here. It must also be highlighted that the script at least has one merit: it mocked once on Brazilian military dictatorship (which entered its less repressive later years but was not over yet) by mentioning Institutional Acts and the Amnesty.

Dreammaster: The Erotic Invader

Definitely, a surprise
Imagine a B-film with cheap dated special effects which story mixes sexploitation, sci-fi (psychiatric revolutionary experiments) and fantasy (besides never explained divination abilities, there is a trip to the real of dream, where evil Devora reigns). It may be awful, don't you think? Well, I may admit that I surprisingly enjoyed it. It is B, it is exploitation, there is no great acting or amazing script, but I liked it. The story is interesting enough for a so unpretentious film, and eroticism (very softcore) is good. I did like Devora, a quite sexy character (kind of succubus dominatrix played by Patricia Skeriotis), that should have had more screen time.


Ironical, innovative, even surrealist film on right-wing authoritarian wave in USA
With extraordinary makeup and great casting/acting (Christian Bale, Amy Adams, Steve Carell, Sam Rockwell, Jesse Plemons, Naomi Watts...), this production has a very innovative approach for a historical-political movie: it not only uses a lot of irony and dark humor for exploring Dick Cheney's path up to the ladder and his extraordinary powers in the authoritarian conservative "revolution" in the United States (much greater power than expected for a vice president and perhaps even for a president) but also has many surrealist moments, what is quite unusual. Those gags and unexpected moments do not work 100% of the time, but often do, and the audacity not to follow a tepid mainstream formula may be praised.

Diamonds Are Forever

In his last Bond film, Sean Connery meets Batman and criminals that could have been created by Coen Brothers
Probably the campiest James Bond film ever. It has kitsch aesthetics, reminds cartoon, and brings all the sexism that was particularly present in Connery's 007 movies. Taken all that in account, the film is not bad and entertains. There are some nice dialogues, full of irony, and I did like bondgirl Tiffany Case played by Jill St. John. Action seems alternating between Woody Woodpecker cartoon and 1960's Batman & Robin. Murderers Mr. Kidd and Mr. Wint look like from a Coen brothers' movie. By the way, if Blofeld had been able to destroy all nuclear weapons it would have been a true gift for the world.

The King

Amusing epic, but neither Shakespeare nor History
With great art direction and costumes, and a greyish palette, this is an amusing epic on the English crown during an age of expansionist wars inside Britain and against France and Ireland. It is based in Shakespeare' Henriad, that is, in his series of plays Henry IV (part I and II) and Henry V. Therefore, historical inaccuracies are expected, as they also existed in the original work of the great playwright.

The problem is that the film itself is not very Shakespearean. Indeed, dialogues and situations have increasingly less Shakespeare flavour as the fulm sluggishly and tepidly advances The dialogues have been changed (more than just "adapted") and it is certainly one of the main (but not he only) reasons for this lack of Elisabethan play spirit, and also for the absence of Shakespearean atmosphere and deepness. Fortunately, there are some very nice moments that push the movie, such as Henry IV and Hotspur's argument in the very beginning, the gifts scene after Henry V coronation, and all the scenes of Robert Pattinson (I never imagined I would praise him...) as the Dauphin. Muddy battle scenes are also quite good, although one of them is a slightly worsened straight copy of the choking battle scene of Jon Snow in Game of Thrones.

Anyway, the spirit of the film is very different from Shakespeare's work, including the very personality and ambitions of the main character. The mainstream generic speech by Henry 'Hal' V on battlefield could not seem less Shakespearean. To resume, it is an amusing fictional medieval epic, but not a great movie, neither a film that helps to bring history to screen, nor a proper adaptation of plays by William Shakespeare.

As Verdades

Bianca Bin in the eyes of each testimony to detective Lázaro Ramos
Murder mystery and police investigation in Bahia countryside. Despite some dots not very well connected and in spite of an unsatisfactory ending, it is a nice film starred by great Lázaro Ramos. The best of the film is the way it portrayed contrasting versions told to detective Josué. The four testimonies no only added information and refuted the previous ones, but also seemed contradictory and unconvincing. All that gave a thrilling and noir atmosphere, which was enhanced by excellent performance by beautiful Bianca Bin. She succeded in portraying very different versions of Francisca, according to what was narrated by each witness, victim or suspect: she alternated from hick to seducer, from naive to manipultive, from frigthened to enamored.

FIFA Uncovered

Informative, but did not go deep enough
Very informative documentary about corruption in FIFA at least since the election of Havelange for its president in 1974, until 2022, the year of Qatar World Cup. There are precious stories and so important characters that I did not knew and have been extremely influential in FIFA business: Jack Warner, Chuck Blazer, Mohammed bin Hammam, Horst Dassler (the son of Adidas Nazi founder)... Not only the data and footage, but also the testimonies by some of them are very nice (I also highlight testimonies by Joseph Blatter and by Hassan Al-Thawadi, secretary general of Qatar 2022).

There are, however, very serious flaws in the documentary, that counterbalance its aforementioned qualities. The very beginning of its first of four segements is terrible, with cheesy edition and too obvious narration and testimonies.

The film improves afterwards, but the alternation of good and bad testimonies would be a trait until the end. What irritated me the most was that correct criticism about some of FIFA's choices and procedures are mixed with a lot of prejudice by some interviewees. A straight example: off course Qatar has been chosen by being rich, there is a strong suspection of bribes behind that selection, workers in the World Cup infrastructure had awful conditions and no labour rights (indeed, FIFA has been worsening laws in all host countries in the last decades, what is not discussed in the documentary) and Qatar has no tradition in football (differently, for example, from Saudi Arabia or Iran).

Saying that is not the same of defending that Qatar could not be the host because the United States were candidates, because the weather is too warm, or because it is too expensive for European spectators to go. That is ridiculous! It is fair that an Arabian and Middle East country be the host for the first time. Qatar, the owner of Paris Saint Germain, is certainly not the best option, but the region deserved to host, and Asian spectators could eventually attend the match in great numbers. So, the documentary mixes good information and correct criticism with prejudice and Eurocentrism.

The correct criticism against Argentine military dictatorship in 1978 and interesting comparison do Nazi Olympic Games in 1936 were directed to criticize Putin's Russia hosting the world cup in 2018. Well, it not only deviates from noticing that Qatar is even more authoritarian, but also that the alliance with dictatorships is a longstanting tradition of FIFA, that predates Havelange and Blatter: 1934 World Cup was held in Fascist Italy under Mussolini and squadra azzurra has been world champions playing at home just like Argentina would be in 1978. From 1921 to 1954, FIFA president was no one less than acclaimed Jules Rimet.

Another serious problem in the documentary, in my critical opinion, is that it fails to connect the dots: indeed, FIFA way is a corrupt one, and from 1974 on, with Adidas, International Sport and Leisure (ISL), Coca-Cola and so forth, money increased a lot and football became a big business it had not been before, when FIFA was still amateur. However, you cannot understand that avoiding the key word: "capitalism".

Havelange and Blatter stablished together with Horst Dassler leading FIFA as a big business not simply because they had a plan, but because of transformations in world capitalism (welfare state in Europe was also shrinking, for example). A conservative aristocrat with a mind linked to racist British colonial times such as Stanley Rous could not maintain hs position as FIFA presient simply because he would be a constraint for capitalism, which needed modernization represented by Havelange and his partners.

FIFA aims profit and not the development of football throughout the globe and even less that everybody be able to watch the matches. That means more inequality, disrespect for laboutr rights, disrespect for the countries' sovereignty, unnecessary stadium building or reform, empty seats in world cup matches. That is not just because Havelange, of Sith master Sepp Blatter, or Platini, or Valcke, or Infantino have interest on it. They are engines of a greater machine called capitalism. Sport is just an excuse. There is precisely why there are powerful men inside FIFA from countries with no football tradition such as Cayman Islands, Qatar... Just follow the money.

All My Loving

That is family!
Mostly developed as three parallel films, each one about the life of one of three siblings, this is German a movie that, overcoming any genre, explores in an encompassing way the relations (including parent-children in different generations, siblings, and marriage), dysfunctionalities, hidden secrets, conflicts and accumulated dissatisfactions and resentments inside a family. All three are very well developed independent characters too, well played by the acors and actress. One more successful achievement in excellent German cinema, a film on life, birth, death and dogs. A movie portraying how family really is.


Deep and powerful
Very powerful and harsh (but funny sometimes) theatre-like (based in a play by August Wilson, but with excellent cinematography too) film. With fast and smart dialogues, it discusses deeply the black question, affection inside poor black families, the transformations of the United Sates society from late 1910's to 1950's, racism, patriarchy, and capitalism. Denzel Washington not only proves to be a skilled director but also has an astonishing acting performance in the leading role (perhaps the best one in his beautiful career), and so does Viola Davis as his strong wife. The other actors all do a quite good job too: Stephen McKinley Henderson, Mykelti Williamson, Jovan Adepo, Russell Hornsby.

Guillermo del Toro's Pinocchio

I feel a little heretic by saying this, but Guillermo del Toro's Pinocchio is even better than Disney version! This is absolutely perfect in any sense. The script is so deep, meaningful, rich. The way it explores Geppetto's life before Pinocchio is fantastic, and so it is the way it ends the story, a story of life and death, of hate and love. Animation stop motion work is no less than amazing: so careful, skillful, delicate, innovative, with so much character (I strongly recommend to also watch short documentary "Guillermo del Toro's Pinocchio: Handcarved Cinema"). I took a week for writing this because I felt I could not do it in a hurry, but I still feel myself unable to be fair to the greatness of this masterpiece (and having more time will not change it, and I need to rate my 10 anyway). The film is beautiful, moving, but also bringing a lot of dark humor sometimes. It is well done in every element, from animation and cinematography to the perfect script and stellar casting. I loved the design of each character, which all surprised me deviating from my prior expectation and evercoming it positively. Just watch it, as I also intend to eventualy do again many times in my life.

Dad's Army

Great underrated British war comedy
I noticed that reviews are mostly negative and it happens in general as a disatisfaction from old fans of sucessful TV series from which this film is a remake. Well, I have never watched the series, or the old spin-up movies, and indeed I must admit I had never heard about Dad's Army until eatching this remake. Therefore, my opinion is directed only to it and is completely independent of how it was fair to the old characters and stories. Taking all that into account, I may tell you that I loved this veeeery British WWII comedy. It is hilarious, lovely, charming. Characters are unique and well developped, all of them adding a lot. The three on the poster - Toby Jones, Bill Nighy and Catherine Zeta-Jones - may be particularly highlighted for their great performances.

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