IF YOU'RE in the Comunidad Valenciana any time between now and the early hours of March 20, you may notice an awful lot of noise and colour on the streets. It's the season for the region's biggest festival,...
San Sebastián Film Festival: This year's stars and 'shells'
27/09/2021
BACK to almost normality and the first 'genderless' edition in history, San Sebastián Film Festival has wound up for another year with gold and silver shells dished out to one of its most international selections of screen stars from either side of the camera.
And it came with a hefty dose of controversy for various reasons in 2021, the 69th in the history of the Basque Country's answer to Cannes. Whilst the overwhelming theme among winning films was the struggle faced by women in a patriarchal society, the Concha de Oro, or 'golden shell' for lifetime achievement, went to Pirates of the Caribbean star Johnny Depp, who has been in the headlines constantly in recent times over domestic violence allegations.
But the festival organisers said that nothing had been proven, Depp had not been charged or formally placed under suspicion of gender or domestic violence, and his innocence must be assumed unless and until this situation changed.
First-ever 'gender-free' film awards
Also, the move to scrap the division between 'Best Actress' and 'Best Actor', or eliminating any mention of gender from awards, left nobody indifferent – everyone in the industry and on the street had a strong opinion of it.
Many championed it, stating that, now, prizewinners would be chosen based upon their work, not whether they were male or female; that healthy competition between, not just amongst, genders would be a game-changer with women shown as being the best in their field 'even in a man's world' – or, indeed, allow a man to show he could succeed in a traditionally 'feminine field' – and that performing artists who identified as non-binary would not have to be lumped into one or the other category. The new format would not have made a difference to trans persons, however, since 'Best Actress' and 'Best Actor' awards would always have been granted on the basis of the gender that the performer identified with and declared him- or herself to be, irrespective of biological sex or sex at birth.
Others, though, feared it would wipe out the 'enforced' equality that film awards ceremonies have always included – a blanket 'Best Performing Artist' title could legitimately lead to every single prize going to male actors rather than females, or the reverse; another argument was that, even though men and women should have entirely equal opportunities and consideration, they are very different 'species' and that these differences should be celebrated, not swept under the carpet.
With all this in mind, film fans and the cinema industry were intrigued to see how it would all pan out.
Best Film
'Golden shell', or Concha de Oro (named after San Sebastián's famous La Concha beach, which got its title because it is shell-shaped) went to Romanian director Alina Grigore's hard-hitting Blue Moon (or Crai Nou in the original Romanian), about a very young woman keen to go to university and escape her violent, dysfunctional family.
Her ambiguous sexual experience with a male artist becomes the catalyst for her to finally face up to reality, in a dramatic 85-minute production starring, among others, Ioana Chifu, Mircea Postelnicu, Mircea Silaghi, Vlad Ivanov and Ionut Achivoaie.
Best Direction
One of three 'Silver Shells', or Conchas de Plata, went to Danish filmmaker Tea Lindeburg for Du Som er i Himlen (in English, As in Heaven), based upon a script she co-wrote with Marie Bregendahl about a day in the life of a teenage girl which changes her promising path forever.
It's the late 19th century and Lise, 14, an eldest child and the first female in her family to have been allowed to go to school, is looking forward to what looks set to be a future of financial independence and choice.
But when her pregnant mother goes into labour and her life hangs in the balance, the outcome could turn everything upside down: If her mum does not survive, Lise will have to become a full-time housewife and child carer and give up her education.
Flora Ofelia Hofman Lindahl plays Lise, which earned her the joint Concha de Plata for 'Best Performance Artist', an award that takes over from 'Best Actor' and 'Best Actress'.
Also stars Ida Cæcilie Rasmussen, Palma Lindeburg Leth, Anna-Olivia Øster Coakley, Flora Augusta, and others, in what is a predominantly female line-up.
Best Performance Artist
Along with Flora Ofelia Hofman Lindahl, the second 'Best Performance Artist' Concha de Plata went to US actress Jessica Chastain for her lead rôle in The Eyes of Tammy Faye, based upon a true-life documentary from the year 2000 in which she stars alongside Andrew Garfield in a film she also produced.
Controversial televangelists, the original Tammy Faye Bakker and her husband Jim Bakker created the world's biggest network of religious TV channels and even a theme park in the 1970s and 1980s; Mrs Bakker was known for her charisma, philanthropy and magnetic charm, as well as for her singing voice – Jessica Chastain does her own singing on the movie, in fact – but ended up being sentenced to a long custodial term for fraud and conspiracy.
She passed away in 2007 aged 65, and Jim Bakker, remarried to Lori, reportedly suffered a stroke last year but was said to be recovering.
The Eyes of Tammy Faye is a detailed, close-up and personal insight into the rise, fall and redemption of a figure who left nobody indifferent in her time.
Best Supporting Performance Artists
Replacing the former 'Supporting Actress' and 'Supporting Actor' awards, Conchas de Plata went to the entire cast of Jonás Trueba's Quién lo Impide ('Who Would Stop It') – a blend of fiction and documentary that invites the viewer to reassess his or her feelings about 'the youth of today'.
Focusing on the so-called 'Generation Z', or those born in the 21st century, who have only recently entered or are just a few years away from entering adulthood, those who are blamed for everything but whose hopes for a bright future are slim and constantly dashed as they struggle to get their hands on everything that earlier generations considered the basic framework for life: Job, car, house, spouse, kids and guaranteed pension fund.
In Quién lo Impide, the male and female cast shows off the best of themselves in a completely honest, vulnerable and wide-open look at the world of those who have never known 20th-century life, from every angle – education, politics, love, friendship, emotions, fragility, humour, intelligence, convictions and ideas.
The film also earned the Feroz Zinemaldia award, or 'ferocious film festival' critics' prize.
Judges' Special Prize (Film)
Below a Concha de Oro or Concha de Plata, the Premio Especial del Jurado is a highly-commendable 'second-place' or 'reserve champion' award which, this year, went to the multi-national production by Lucile Hadzihalilovic, based upon a novel of the same name by Brian Catling and Geoff Cox.
Earwig, a British-French-Belgium film, describes how 'somewhere in Europe in the mid-20th century', Albert works as carer for Mia, a little girl with teeth made from ice.
She never leaves her apartment, where all the doors and windows are permanently closed, and where the phone rings constantly; someone who calls himself 'The Master' concerns himself with Mia's welfare and keeps tabs on her.
One day, Albert is given instructions to get Mia ready and take her outside for the first time.
Judges' Special Prize (Script)
British poet Siegfried Sassoon has been the subject of many an artistic representation focusing on his decorated First World War spell on the Western Front, his dicing with danger off the battlefield for openly being a 'conchie', or 'conscientious objector' to the conflict and taking a stand against it, his passage through the famous Craiglockhart 'war neurosis' or PTSD hospital, his homosexuality, his friendship with fellow wartime poet Wilfred Owen (who died tragically young in the last year of the fighting), his hobnobbing with the aristocracy and literati, and his attempts to save himself from survivors' guilt and his attraction to men through religion and marriage, neither of which worked.
He was one of the key figures in Pat Barker's Regeneration trilogy of World War I novels and the main character in the first of these, of the same title (only briefly being mentioned in The Ghost Road and The Eye in the Door), and, it seems, will continue to provide food for culture and entertainment professionals for many long years to come, without anyone focusing on the controversial literary legend being accused of reinventing the wheel or rehashing old ideas.
The latest Sassoon homage is Terence Davies' UK film Benediction, which won the Judges' Special Prize for Best Script in San Sebastián.
Judges' Special Prize (Photographic Direction)
Claire Mathon is photographic director for the French spy drama Enquête sur un Scandale d'État, or Undercover in the English translation, about a seven-tonne haul of cannabis seized by customs officers in Paris, a former drug-lord attempting to convince a left-wing journalist of a high-profile national police chief's involvement in a lucrative underground industry, and the exposure of dark, ugly secrets in the hidden depths of the République, or French State.
Best New Director Award
Russian director Lena Lanskih's Unwanted (Nich'ya in the original), which earned her the prize for 'Best New Director', focuses on 14-year-old Vika, a humble country girl living in the Ural mountains whose simple life involves picking fruit in the woods and marshes for her mum to sell on the market, plus school, and choreography lessons.
But she has a baby whom nobody must ever know exists.
'Horizons' Award
The Premio Horizontes goes to the best Latin America film, and this year was won by Tatiana Huezo's Noche de Fuego ('Night of Fire').
Based in a remote village in the mountains in México, three young men move into homes abandoned by locals who have left the area, dress up as women when nobody is watching, and keep themselves hidden from would-be violent kidnappers, the threat of whom is always in the background.
Tatiana Huezo also won the Spanish Cooperation Award (Premio Cooperación Española) for her production focusing on young people, gender rôles and the ongoing violence in parts of her home nation.
Zabaltegi Award
A special 'Best Film' category, this year's went to the highly-emotive French production Vórtex, directed by Argentina's Gaspar Noé and starring Dario Argento, Alex Lutz and Françoise Lebrun. A hugely-sensitive tear-jerker, it depicts the last days of life of an elderly couple with dementia and their conviction that 'life is a short party that is soon forgotten'.
Audience Award
The annual Premio del Público goes to the film most highly-rated among viewers at the festival, and this time, it went to the emotive, magical time-travel story of eight-year-old Nelly in Petite Maman ('Little Mum', or also 'Grandma').
French director Céline Sciamma's production shows the youngster helping her parents clear out the home her mother grew up in after the recent loss of her grandmother, and meeting a little girl her own age in the woods, playing with her in a log cabin, and discovering what her mum's childhood was like first-hand through playing and tête-à-tête secret conversations with her new friend, a magical, wonderful universe that Nelly connects with in an unusual way.
You can probably guess who the mysterious little friend turns out to be.
The photographic director is Claire Mathon, prizewinner for Undercover.
Best European Film Award
Le Quai de Ouistreham, by Emmanuel Carrère, is translated into Spanish as En un Muelle de Normandia ('On a Normandy Quay'), but the English title presented at the festival is Between Two Worlds.
This ambiguous, poetic title bears witness to the geographical, as well as social and financial, sense of this far-western point of the European continent which is closer to the UK than to its capital city.
Mirroring Barbara Ehrenreich's damning and inflammatory 1998 journalistic novel Nickel and Dimed, about her own experiences as an undercover jobseeker in working-class USA, Between Two Worlds shows the legendary Juliette Binoche (Chocolat, The English Patient) as renowned novelist Marianne Winckler who decides to write about the precarious employment market from a first-person perspective, taking on cleaning jobs in a Normandy village under an assumed name.
Finding out how the 'other half' lives, where every cent counts and harsh choices have to be made daily, Marianne discovers how the strong links of friendship between colleagues, and the woes they share with each other in confidence, helps them through their ordeal.
Of course, this trust is likely to be threatened when the book comes out and everyone's secrets are revealed, placing the author at the centre of a moral dilemma.
Irizar Basque Film Award
Every year, the Premio Irizar al Cine Vasco goes to the best film made by a director from the region where the festival takes place, or which is set there – and, as one of the most prolific directors from northern Spain, Iciar Bollaín always has a strong chance of taking home the trophy.
Her previous works have had a very female feel to them, showing intimate portraits of real-life events and ordinary people, friendships, 'coming-of-age' tales focusing on young women, and all easy to identify with.
Maixabel will resound with thousands of Spaniards, particularly from the Basque Country, in the same way as Fernando Aramburu's epic doorstopper novel Patria did both in paper format and when it was released on screen.
Middle-aged Maixabel Lasa, played by Blanca Portillo, lost her husband Juan María Jaúregui in 2000 when he was killed in a bomb blast by the now-defunct separatist terrorist organisation ETA.
Two years after ETA's last violent act (in summer 2009), five years after its last major blast (in December 2006, when the cell blew up the car park at Madrid airport Terminal 4), and two years before ETA had formally disbanded and handed in its weapons, Maixabel gets an unusual request.
It's 2011, and one of the terrorists behind the explosion that killed her husband of 16 years has broken off all ties with ETA, but is still serving a long custodial sentence at Nanclares de la Oca prison in the province of Álava (of which the capital is Vitoria).
He wants to talk to Maixabel face to face and, despite crippling indecision at first as old wounds are reopened, decides to do so.
Maixabel is now showing at mainstream cinemas all over Spain, where it is neck-and-neck in box-office takings with the global epic Dune, based upon the 1960s' science fiction novel by Frank Herbert.
If you are confident enough with your Spanish to be able to follow a full-length feature film, you'll be able to catch it at your nearest flicks until early October; if you're not, wait until it comes out on DVD and then you can pop the subtitles on, in Spanish to practise, or in English as a 'fall-back' when unknown expressions or vocabulary catch you out.
Related Topics
You may also be interested in ...
BACK to almost normality and the first 'genderless' edition in history, San Sebastián Film Festival has wound up for another year with gold and silver shells dished out to one of its most international selections of screen stars from either side of the camera.
And it came with a hefty dose of controversy for various reasons in 2021, the 69th in the history of the Basque Country's answer to Cannes. Whilst the overwhelming theme among winning films was the struggle faced by women in a patriarchal society, the Concha de Oro, or 'golden shell' for lifetime achievement, went to Pirates of the Caribbean star Johnny Depp, who has been in the headlines constantly in recent times over domestic violence allegations.
But the festival organisers said that nothing had been proven, Depp had not been charged or formally placed under suspicion of gender or domestic violence, and his innocence must be assumed unless and until this situation changed.
First-ever 'gender-free' film awards
Also, the move to scrap the division between 'Best Actress' and 'Best Actor', or eliminating any mention of gender from awards, left nobody indifferent – everyone in the industry and on the street had a strong opinion of it.
Many championed it, stating that, now, prizewinners would be chosen based upon their work, not whether they were male or female; that healthy competition between, not just amongst, genders would be a game-changer with women shown as being the best in their field 'even in a man's world' – or, indeed, allow a man to show he could succeed in a traditionally 'feminine field' – and that performing artists who identified as non-binary would not have to be lumped into one or the other category. The new format would not have made a difference to trans persons, however, since 'Best Actress' and 'Best Actor' awards would always have been granted on the basis of the gender that the performer identified with and declared him- or herself to be, irrespective of biological sex or sex at birth.
Others, though, feared it would wipe out the 'enforced' equality that film awards ceremonies have always included – a blanket 'Best Performing Artist' title could legitimately lead to every single prize going to male actors rather than females, or the reverse; another argument was that, even though men and women should have entirely equal opportunities and consideration, they are very different 'species' and that these differences should be celebrated, not swept under the carpet.
With all this in mind, film fans and the cinema industry were intrigued to see how it would all pan out.
Best Film
'Golden shell', or Concha de Oro (named after San Sebastián's famous La Concha beach, which got its title because it is shell-shaped) went to Romanian director Alina Grigore's hard-hitting Blue Moon (or Crai Nou in the original Romanian), about a very young woman keen to go to university and escape her violent, dysfunctional family.
Her ambiguous sexual experience with a male artist becomes the catalyst for her to finally face up to reality, in a dramatic 85-minute production starring, among others, Ioana Chifu, Mircea Postelnicu, Mircea Silaghi, Vlad Ivanov and Ionut Achivoaie.
Best Direction
One of three 'Silver Shells', or Conchas de Plata, went to Danish filmmaker Tea Lindeburg for Du Som er i Himlen (in English, As in Heaven), based upon a script she co-wrote with Marie Bregendahl about a day in the life of a teenage girl which changes her promising path forever.
It's the late 19th century and Lise, 14, an eldest child and the first female in her family to have been allowed to go to school, is looking forward to what looks set to be a future of financial independence and choice.
But when her pregnant mother goes into labour and her life hangs in the balance, the outcome could turn everything upside down: If her mum does not survive, Lise will have to become a full-time housewife and child carer and give up her education.
Flora Ofelia Hofman Lindahl plays Lise, which earned her the joint Concha de Plata for 'Best Performance Artist', an award that takes over from 'Best Actor' and 'Best Actress'.
Also stars Ida Cæcilie Rasmussen, Palma Lindeburg Leth, Anna-Olivia Øster Coakley, Flora Augusta, and others, in what is a predominantly female line-up.
Best Performance Artist
Along with Flora Ofelia Hofman Lindahl, the second 'Best Performance Artist' Concha de Plata went to US actress Jessica Chastain for her lead rôle in The Eyes of Tammy Faye, based upon a true-life documentary from the year 2000 in which she stars alongside Andrew Garfield in a film she also produced.
Controversial televangelists, the original Tammy Faye Bakker and her husband Jim Bakker created the world's biggest network of religious TV channels and even a theme park in the 1970s and 1980s; Mrs Bakker was known for her charisma, philanthropy and magnetic charm, as well as for her singing voice – Jessica Chastain does her own singing on the movie, in fact – but ended up being sentenced to a long custodial term for fraud and conspiracy.
She passed away in 2007 aged 65, and Jim Bakker, remarried to Lori, reportedly suffered a stroke last year but was said to be recovering.
The Eyes of Tammy Faye is a detailed, close-up and personal insight into the rise, fall and redemption of a figure who left nobody indifferent in her time.
Best Supporting Performance Artists
Replacing the former 'Supporting Actress' and 'Supporting Actor' awards, Conchas de Plata went to the entire cast of Jonás Trueba's Quién lo Impide ('Who Would Stop It') – a blend of fiction and documentary that invites the viewer to reassess his or her feelings about 'the youth of today'.
Focusing on the so-called 'Generation Z', or those born in the 21st century, who have only recently entered or are just a few years away from entering adulthood, those who are blamed for everything but whose hopes for a bright future are slim and constantly dashed as they struggle to get their hands on everything that earlier generations considered the basic framework for life: Job, car, house, spouse, kids and guaranteed pension fund.
In Quién lo Impide, the male and female cast shows off the best of themselves in a completely honest, vulnerable and wide-open look at the world of those who have never known 20th-century life, from every angle – education, politics, love, friendship, emotions, fragility, humour, intelligence, convictions and ideas.
The film also earned the Feroz Zinemaldia award, or 'ferocious film festival' critics' prize.
Judges' Special Prize (Film)
Below a Concha de Oro or Concha de Plata, the Premio Especial del Jurado is a highly-commendable 'second-place' or 'reserve champion' award which, this year, went to the multi-national production by Lucile Hadzihalilovic, based upon a novel of the same name by Brian Catling and Geoff Cox.
Earwig, a British-French-Belgium film, describes how 'somewhere in Europe in the mid-20th century', Albert works as carer for Mia, a little girl with teeth made from ice.
She never leaves her apartment, where all the doors and windows are permanently closed, and where the phone rings constantly; someone who calls himself 'The Master' concerns himself with Mia's welfare and keeps tabs on her.
One day, Albert is given instructions to get Mia ready and take her outside for the first time.
Judges' Special Prize (Script)
British poet Siegfried Sassoon has been the subject of many an artistic representation focusing on his decorated First World War spell on the Western Front, his dicing with danger off the battlefield for openly being a 'conchie', or 'conscientious objector' to the conflict and taking a stand against it, his passage through the famous Craiglockhart 'war neurosis' or PTSD hospital, his homosexuality, his friendship with fellow wartime poet Wilfred Owen (who died tragically young in the last year of the fighting), his hobnobbing with the aristocracy and literati, and his attempts to save himself from survivors' guilt and his attraction to men through religion and marriage, neither of which worked.
He was one of the key figures in Pat Barker's Regeneration trilogy of World War I novels and the main character in the first of these, of the same title (only briefly being mentioned in The Ghost Road and The Eye in the Door), and, it seems, will continue to provide food for culture and entertainment professionals for many long years to come, without anyone focusing on the controversial literary legend being accused of reinventing the wheel or rehashing old ideas.
The latest Sassoon homage is Terence Davies' UK film Benediction, which won the Judges' Special Prize for Best Script in San Sebastián.
Judges' Special Prize (Photographic Direction)
Claire Mathon is photographic director for the French spy drama Enquête sur un Scandale d'État, or Undercover in the English translation, about a seven-tonne haul of cannabis seized by customs officers in Paris, a former drug-lord attempting to convince a left-wing journalist of a high-profile national police chief's involvement in a lucrative underground industry, and the exposure of dark, ugly secrets in the hidden depths of the République, or French State.
Best New Director Award
Russian director Lena Lanskih's Unwanted (Nich'ya in the original), which earned her the prize for 'Best New Director', focuses on 14-year-old Vika, a humble country girl living in the Ural mountains whose simple life involves picking fruit in the woods and marshes for her mum to sell on the market, plus school, and choreography lessons.
But she has a baby whom nobody must ever know exists.
'Horizons' Award
The Premio Horizontes goes to the best Latin America film, and this year was won by Tatiana Huezo's Noche de Fuego ('Night of Fire').
Based in a remote village in the mountains in México, three young men move into homes abandoned by locals who have left the area, dress up as women when nobody is watching, and keep themselves hidden from would-be violent kidnappers, the threat of whom is always in the background.
Tatiana Huezo also won the Spanish Cooperation Award (Premio Cooperación Española) for her production focusing on young people, gender rôles and the ongoing violence in parts of her home nation.
Zabaltegi Award
A special 'Best Film' category, this year's went to the highly-emotive French production Vórtex, directed by Argentina's Gaspar Noé and starring Dario Argento, Alex Lutz and Françoise Lebrun. A hugely-sensitive tear-jerker, it depicts the last days of life of an elderly couple with dementia and their conviction that 'life is a short party that is soon forgotten'.
Audience Award
The annual Premio del Público goes to the film most highly-rated among viewers at the festival, and this time, it went to the emotive, magical time-travel story of eight-year-old Nelly in Petite Maman ('Little Mum', or also 'Grandma').
French director Céline Sciamma's production shows the youngster helping her parents clear out the home her mother grew up in after the recent loss of her grandmother, and meeting a little girl her own age in the woods, playing with her in a log cabin, and discovering what her mum's childhood was like first-hand through playing and tête-à-tête secret conversations with her new friend, a magical, wonderful universe that Nelly connects with in an unusual way.
You can probably guess who the mysterious little friend turns out to be.
The photographic director is Claire Mathon, prizewinner for Undercover.
Best European Film Award
Le Quai de Ouistreham, by Emmanuel Carrère, is translated into Spanish as En un Muelle de Normandia ('On a Normandy Quay'), but the English title presented at the festival is Between Two Worlds.
This ambiguous, poetic title bears witness to the geographical, as well as social and financial, sense of this far-western point of the European continent which is closer to the UK than to its capital city.
Mirroring Barbara Ehrenreich's damning and inflammatory 1998 journalistic novel Nickel and Dimed, about her own experiences as an undercover jobseeker in working-class USA, Between Two Worlds shows the legendary Juliette Binoche (Chocolat, The English Patient) as renowned novelist Marianne Winckler who decides to write about the precarious employment market from a first-person perspective, taking on cleaning jobs in a Normandy village under an assumed name.
Finding out how the 'other half' lives, where every cent counts and harsh choices have to be made daily, Marianne discovers how the strong links of friendship between colleagues, and the woes they share with each other in confidence, helps them through their ordeal.
Of course, this trust is likely to be threatened when the book comes out and everyone's secrets are revealed, placing the author at the centre of a moral dilemma.
Irizar Basque Film Award
Every year, the Premio Irizar al Cine Vasco goes to the best film made by a director from the region where the festival takes place, or which is set there – and, as one of the most prolific directors from northern Spain, Iciar Bollaín always has a strong chance of taking home the trophy.
Her previous works have had a very female feel to them, showing intimate portraits of real-life events and ordinary people, friendships, 'coming-of-age' tales focusing on young women, and all easy to identify with.
Maixabel will resound with thousands of Spaniards, particularly from the Basque Country, in the same way as Fernando Aramburu's epic doorstopper novel Patria did both in paper format and when it was released on screen.
Middle-aged Maixabel Lasa, played by Blanca Portillo, lost her husband Juan María Jaúregui in 2000 when he was killed in a bomb blast by the now-defunct separatist terrorist organisation ETA.
Two years after ETA's last violent act (in summer 2009), five years after its last major blast (in December 2006, when the cell blew up the car park at Madrid airport Terminal 4), and two years before ETA had formally disbanded and handed in its weapons, Maixabel gets an unusual request.
It's 2011, and one of the terrorists behind the explosion that killed her husband of 16 years has broken off all ties with ETA, but is still serving a long custodial sentence at Nanclares de la Oca prison in the province of Álava (of which the capital is Vitoria).
He wants to talk to Maixabel face to face and, despite crippling indecision at first as old wounds are reopened, decides to do so.
Maixabel is now showing at mainstream cinemas all over Spain, where it is neck-and-neck in box-office takings with the global epic Dune, based upon the 1960s' science fiction novel by Frank Herbert.
If you are confident enough with your Spanish to be able to follow a full-length feature film, you'll be able to catch it at your nearest flicks until early October; if you're not, wait until it comes out on DVD and then you can pop the subtitles on, in Spanish to practise, or in English as a 'fall-back' when unknown expressions or vocabulary catch you out.
Related Topics
You may also be interested in ...
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