Cinemax has boarded Trackers, a thriller drama series based on the novel by bestselling South African author Deon Meyer.
James Gracie (aka James Alexander Gracie), Rolanda Marais and Ed Stoppard are set to star in the series, a co-production between Cinemax, the South Africa’s M-Net and Germany’s Zdf.
Multichoice’s M-Net and Zdf teamed for Trackers in late 2018, with Jyri Kähönen set to direct all episodes and Ivan Strasburg as director of photography. Around that time, the companies started conversations with Cinemax about coming on board as a co-producer.
Trackers interweaves three story strands into a sophisticated action-packed thriller that covers the length and breadth of South Africa, explosively colliding in Cape Town in a violent conspiracy involving organized crime, smuggled diamonds, state security, Black Rhinos, the CIA and an international terrorist plot.
Gracie plays Lemmer, a man who is seeking revenge while rebuilding his life in a...
James Gracie (aka James Alexander Gracie), Rolanda Marais and Ed Stoppard are set to star in the series, a co-production between Cinemax, the South Africa’s M-Net and Germany’s Zdf.
Multichoice’s M-Net and Zdf teamed for Trackers in late 2018, with Jyri Kähönen set to direct all episodes and Ivan Strasburg as director of photography. Around that time, the companies started conversations with Cinemax about coming on board as a co-producer.
Trackers interweaves three story strands into a sophisticated action-packed thriller that covers the length and breadth of South Africa, explosively colliding in Cape Town in a violent conspiracy involving organized crime, smuggled diamonds, state security, Black Rhinos, the CIA and an international terrorist plot.
Gracie plays Lemmer, a man who is seeking revenge while rebuilding his life in a...
- 6/13/2019
- by Nellie Andreeva
- Deadline Film + TV
Bestselling South African author Deon Meyer’s “Trackers” is being adapted for TV after African pay-tv heavyweight Multichoice teamed with German pubcaster Zdf to bring the thriller to the small screen.
“Trackers” interweaves three story strands into a thriller spanning the length and breadth of South Africa and involving organized crime, smuggled diamonds, state security, black rhinos, the CIA, and an international terrorist plot. The TV adaptation will run to six parts and will shoot in and around Cape Town next year.
Meyer will serve as supervising screenwriter on the series. Robert Thorogood (“Death in Paradise”) will be the showrunner. Britain’s Three River Studios and German-based Helle Media put the co-production deal together.
Jyri Kahonon (“Bordertown”) is attached to direct, and Ivan Strasburg (“Treme”) is on board as director of photography. Three River CEO Jonthan Drake said that “the co-production represents the first in a new wave of stories...
“Trackers” interweaves three story strands into a thriller spanning the length and breadth of South Africa and involving organized crime, smuggled diamonds, state security, black rhinos, the CIA, and an international terrorist plot. The TV adaptation will run to six parts and will shoot in and around Cape Town next year.
Meyer will serve as supervising screenwriter on the series. Robert Thorogood (“Death in Paradise”) will be the showrunner. Britain’s Three River Studios and German-based Helle Media put the co-production deal together.
Jyri Kahonon (“Bordertown”) is attached to direct, and Ivan Strasburg (“Treme”) is on board as director of photography. Three River CEO Jonthan Drake said that “the co-production represents the first in a new wave of stories...
- 12/4/2018
- by Stewart Clarke
- Variety Film + TV
What does your life mean if the memories that have defined you are revealed to be false? What if the memories are tied to devastating trauma? For Jennifer Fox (Laura Dern), when letters are unearthed revealing more about a “relationship” when she was 13, she starts to not only investigate in the present-day, but excavates the memories that she’s repeated since the trauma and opens a dialogue with her younger self (Isabelle Nélisse). What she perceived as a relationship was, in fact, repeated rape. Directed by Fox herself, The Tale is an emotionally debilitating drama, the powerful kind that makes one want to scream rage at the events on the screen, but are choked by silence as the credits roll, comprehending the irrecoverable damage caused to the protagonist and the director, as the events are based on her own life.
When Jennifer just became a teenager, she wrote “The Tale,...
When Jennifer just became a teenager, she wrote “The Tale,...
- 1/23/2018
- by Jordan Raup
- The Film Stage
Film-maker whose documentaries allowed the subjects to speak for themselves
The documentary film-maker Michael Grigsby, who has died aged 76, strove to convey the experiences of ordinary people, and those on the margins of society. His subjects ranged from Inuit hunters in northern Canada and North Sea fishermen to Northern Irish farmers, Vietnamese villagers and, most recently, ageing American veterans of the Vietnam war.
He made more than 30 films – many of them for Granada TV's World in Action and Disappearing World – which were marked by the way in which they allowed their subjects to speak for themselves. Taking his films back to the communities he had filmed for their approval became a vital part of Grigsby's process of securing trust. Some – like the Inuit – would subsequently use his films to explain their lives to outsiders.
Grigsby's questions were never heard and he abhorred commentary, preferring brief captions or the overlaid voices...
The documentary film-maker Michael Grigsby, who has died aged 76, strove to convey the experiences of ordinary people, and those on the margins of society. His subjects ranged from Inuit hunters in northern Canada and North Sea fishermen to Northern Irish farmers, Vietnamese villagers and, most recently, ageing American veterans of the Vietnam war.
He made more than 30 films – many of them for Granada TV's World in Action and Disappearing World – which were marked by the way in which they allowed their subjects to speak for themselves. Taking his films back to the communities he had filmed for their approval became a vital part of Grigsby's process of securing trust. Some – like the Inuit – would subsequently use his films to explain their lives to outsiders.
Grigsby's questions were never heard and he abhorred commentary, preferring brief captions or the overlaid voices...
- 3/21/2013
- by Ian Christie
- The Guardian - Film News
It's a good day for funny people, especially if your name is Tina Fey or Seth MacFarlane.
Fey's series, 30 Rock, was handed 22 Emmy nominations this morning, which stands as a record for a comedy series. She and Alec Baldwin were also nominated for acting awards. Plus, for the first time some of the other actors on NBC's laffer were recognized. Jane Krakowski, Jack McBrayer and Tracy Morgan all picked up supporting nominations.
MacFarlane's Family Guy was also nominated for best comedy series, the first time an animated show has cracked that category since The Flintstones in 1961. Two years ago MacFarlane decided to pull his show from contention in the animated series category to have it considered for best comedy.
Mad Men, the drama about the advertising world in the sixties, picked up 16 nominations in the drama categories, including a best actor nod for Jon Hamm. Hamm is also nominated as...
Fey's series, 30 Rock, was handed 22 Emmy nominations this morning, which stands as a record for a comedy series. She and Alec Baldwin were also nominated for acting awards. Plus, for the first time some of the other actors on NBC's laffer were recognized. Jane Krakowski, Jack McBrayer and Tracy Morgan all picked up supporting nominations.
MacFarlane's Family Guy was also nominated for best comedy series, the first time an animated show has cracked that category since The Flintstones in 1961. Two years ago MacFarlane decided to pull his show from contention in the animated series category to have it considered for best comedy.
Mad Men, the drama about the advertising world in the sixties, picked up 16 nominations in the drama categories, including a best actor nod for Jon Hamm. Hamm is also nominated as...
- 7/16/2009
- CinemaSpy
PARK CITY -- "Lackawanna Blues" is a spirited, joyful celebration of an indomitable earth mother and the vibrant black community in which she thrives. The film also celebrates the auspicious entry of George C. Wolfe into filmmaking. One of the most critically acclaimed stage directors in New York (and sometimes Los Angeles), Wolfe came aboard to help shape this unusual HBO Films' adaptation of Ruben Santiago-Hudson's Obie-winning one-man play. Fortunately, he got seduced into making his feature directing debut.
Like many men of theater with an eye for cinematic detail -- a list that runs from Orson Welles to Sam Mendes -- Wolfe brings a hot theatricality to moviemaking and an instinct for blending dramatic intensity with telling imagery. "Lackawanna Blues" airs Feb. 12 on HBO, but its Sundance reception might lead to more theatrical exposure.
Santiago-Hudson's autobiographical one-man show, in which he changed characters in a heartbeat, explored his youth, growing up in the early 1960s at 32 Wasson Ave. in Lackawanna, N.Y., in the midst of a thriving black community in that Great Lakes city.
The future actor and writer is raised not by his Puerto Rican father, Ruben Sr. (Jimmy Smits), or his mother, Alean (Carmen Ejogo) -- who drift out of his life in losing battles with their own demons -- but by a large, maternal woman everyone calls Nanny (the amazing S. Epatha Merkerson). She runs a boarding house, though that term doesn't do justice to the establishment. The place is a combination diner and halfway house for drifters, grifters and people damaged by life -- by World War II, racism, alcohol and drugs -- where everyone comes to gamble, drink, dance to a jukebox and, by all means, crash Nanny's Friday night fish fry.
Quite a place for a young boy everyone calls Junior Marcus Carl Franklin) to grow up. Nanny protects and guides the boy as if he were her own. But then she is a natural-born fixer, a person predisposed to help people who lack a social safety net and to nurture broken souls. It's her gift, and it fills her life with joy.
Make no mistake: Nanny is tough. She must deal with a philandering husband, Bill (Terrence Howard), many years her junior; Lem (Louis Gossett Jr.), a one-legged refugee from a mental hospital; crazy Pauline (Macy Gray), forever stalking romantic rivals with a switchblade; Freddie (Santiago-Hudson), a war vet looking for respect; and tenant Small Paul Jeffrey Wright), rumored to have killed a man.
One thing nearly all have in common is a gift for gab. Everyone tells stories -- stories about a jealous homicide, drunken accidents, the loss of an arm or the Negro League Baseball. Santiago-Hudson weaves these stories through action that takes place in and around the boarding house and Maxie's night club. There's a whole culture of storytelling here, as if the past for these haunted souls is somehow more golden and vital than the harsh present.
Wolfe and Santiago-Hudson both have appreciation for telling details -- how clothes matter, especially when getting dressed up for a night at Maxie's, and how shoes matter even more. They show how people use words as weapons and means of seduction. Then, in the background, there is Otis McClanahan (Robert Bradley), a blind blues player whose songs echo the stories being told, and the jump-and-shout music by Maxie's bandleader (Mos Def), whose rhythms set everyone to dancing. And all the while, Ivan Strasburg's nimble camera glides through this energetic scene with silky grace.
LACKAWANNA BLUES
HBO Films
Credits:
Director: George C. Wolfe
Writer: Ruben Santiago-Hudson
Based on the play by: Ruben Santiago-Hudson
Producer: Nellie Nugiel
Executive producers: Halle Berry, Vincent Cirrincione, Ruben Santiago-Hudson, Shelby Stone
Director of photography: Ivan Strasburg
Production designer: Richard Hoover
Music: Meshell Ndegeocello
Costumes: Hope Hanafin
Editor: Brian Kates
Cast:
Nanny: S. Epatha Merkerson
Jr.: Marcus Carl Franklin
Ruben Santiago Sr.: Jimmy Smits
Alean: Carmen Ejogo
Bill: Terrence Howard
Pauline: Marcy Gray
Lem Taylor: Louis Gossett Jr.
Bandleader: Mos Def
Dick Barrymore: Ernie Hudson
Small Paul: Jeffrey Wright
No MPAA rating
Running time -- 94 minutes...
Like many men of theater with an eye for cinematic detail -- a list that runs from Orson Welles to Sam Mendes -- Wolfe brings a hot theatricality to moviemaking and an instinct for blending dramatic intensity with telling imagery. "Lackawanna Blues" airs Feb. 12 on HBO, but its Sundance reception might lead to more theatrical exposure.
Santiago-Hudson's autobiographical one-man show, in which he changed characters in a heartbeat, explored his youth, growing up in the early 1960s at 32 Wasson Ave. in Lackawanna, N.Y., in the midst of a thriving black community in that Great Lakes city.
The future actor and writer is raised not by his Puerto Rican father, Ruben Sr. (Jimmy Smits), or his mother, Alean (Carmen Ejogo) -- who drift out of his life in losing battles with their own demons -- but by a large, maternal woman everyone calls Nanny (the amazing S. Epatha Merkerson). She runs a boarding house, though that term doesn't do justice to the establishment. The place is a combination diner and halfway house for drifters, grifters and people damaged by life -- by World War II, racism, alcohol and drugs -- where everyone comes to gamble, drink, dance to a jukebox and, by all means, crash Nanny's Friday night fish fry.
Quite a place for a young boy everyone calls Junior Marcus Carl Franklin) to grow up. Nanny protects and guides the boy as if he were her own. But then she is a natural-born fixer, a person predisposed to help people who lack a social safety net and to nurture broken souls. It's her gift, and it fills her life with joy.
Make no mistake: Nanny is tough. She must deal with a philandering husband, Bill (Terrence Howard), many years her junior; Lem (Louis Gossett Jr.), a one-legged refugee from a mental hospital; crazy Pauline (Macy Gray), forever stalking romantic rivals with a switchblade; Freddie (Santiago-Hudson), a war vet looking for respect; and tenant Small Paul Jeffrey Wright), rumored to have killed a man.
One thing nearly all have in common is a gift for gab. Everyone tells stories -- stories about a jealous homicide, drunken accidents, the loss of an arm or the Negro League Baseball. Santiago-Hudson weaves these stories through action that takes place in and around the boarding house and Maxie's night club. There's a whole culture of storytelling here, as if the past for these haunted souls is somehow more golden and vital than the harsh present.
Wolfe and Santiago-Hudson both have appreciation for telling details -- how clothes matter, especially when getting dressed up for a night at Maxie's, and how shoes matter even more. They show how people use words as weapons and means of seduction. Then, in the background, there is Otis McClanahan (Robert Bradley), a blind blues player whose songs echo the stories being told, and the jump-and-shout music by Maxie's bandleader (Mos Def), whose rhythms set everyone to dancing. And all the while, Ivan Strasburg's nimble camera glides through this energetic scene with silky grace.
LACKAWANNA BLUES
HBO Films
Credits:
Director: George C. Wolfe
Writer: Ruben Santiago-Hudson
Based on the play by: Ruben Santiago-Hudson
Producer: Nellie Nugiel
Executive producers: Halle Berry, Vincent Cirrincione, Ruben Santiago-Hudson, Shelby Stone
Director of photography: Ivan Strasburg
Production designer: Richard Hoover
Music: Meshell Ndegeocello
Costumes: Hope Hanafin
Editor: Brian Kates
Cast:
Nanny: S. Epatha Merkerson
Jr.: Marcus Carl Franklin
Ruben Santiago Sr.: Jimmy Smits
Alean: Carmen Ejogo
Bill: Terrence Howard
Pauline: Marcy Gray
Lem Taylor: Louis Gossett Jr.
Bandleader: Mos Def
Dick Barrymore: Ernie Hudson
Small Paul: Jeffrey Wright
No MPAA rating
Running time -- 94 minutes...
- 1/27/2005
- The Hollywood Reporter - Movie News
For a film about one of the world's fastest men, "Endurance" moves ploddingly.
Part docudrama, part travelogue and part sedative, this re-creation of the life of Ethiopian distance runner Haile Gebrselassie, who set a world record at the 1996 Olympics, is visually impressive but dramatically inert.
Using the engaging Gebrselassie and nonactors playing people in his formative life, award-winning documentary filmmaker Leslie Woodhead has concocted a curious nonfiction feature. Woodhead incorporates footage of Gebrselassie's 10,000-meter Atlanta triumph and cinema verite re-creations but oddly leaves out key aspects of the big race that could have made for far more involving viewing.
As a result, this long-distance saga, spearheaded by Terrence Malick and Edward R. Pressman, is an endurance that would have made more sense on the Disney Channel than in theaters, where its performance will be significantly less than Olympian.
Woodhead and ever-probing cameraman Ivan Strasburg spend a lot of time establishing the oppressive conditions in which Gebrselassie was raised. The eighth of 10 children born to a hard-working Ethiopian farmer and his wife, young Haile (Yonas Zergaw) is seen running barefoot here and there under the relentless African sun.
One day in 1980, Haile is huddled behind his family's mud hut, listening to a radio broadcast of fellow Ethiopian Miruts Yifter's successful 10,000-meter race at the Moscow Olympics, and realizes his destiny.
But by the time Haile is well on his chosen path, so much footage has been squandered capturing all of the National Geographic-worthy vistas that Woodhead and his editors (Saar Klien and Oral Norrie Ottley) are forced to cut to the chase without building effectively toward the big finale.
It's a shame, because a legitimate, crowd-rousing story can be found, ironically, in the media kit. According to the production notes, during the Atlanta race, Gebrselassie was boxed in by two members of the Kenyan team -- one in front, one behind -- pressuring him to run faster than he had planned in order to deplete his energy sooner. In addition, the eventual gold medalist had to cope with a severe blister on his foot that became infected during training.
But precious little of this dramatic gold has been mined in Woodhead's rigid, uninspiring portrait of Gebrselassie, whose potentially winning screen biography has been given the runaround.
ENDURANCE
Buena Vista Pictures Distribution
A Walt Disney Pictures presentation
of a La Junta Llc. production
in association with Film Four and Helkon Media Filmvertrieb
Director-screenwriter:Leslie Woodhead
Producers:Edward R. Pressman, Terrence Malick, Max Palevsky
Executive producer:Wallace Wolf
Director of photography:Ivan Strasburg
Editors:Saar Klien, Oral Norrie Ottley
Music:John Powell
Music supervisor:Hans Zimmer
Color/stereo
Cast:
Haile Gebrselassie:Himself
Haile's father:Bekele Gebrselassie
Haile's brother:Assefa Gebrselassie
Haile's wife:Alem Tellahun
Haile's police trainer:Tizazu Mashresha
Haile's mother:Shawanness Gebrselassie
Running time -- 83 minutes
MPAA rating: G...
Part docudrama, part travelogue and part sedative, this re-creation of the life of Ethiopian distance runner Haile Gebrselassie, who set a world record at the 1996 Olympics, is visually impressive but dramatically inert.
Using the engaging Gebrselassie and nonactors playing people in his formative life, award-winning documentary filmmaker Leslie Woodhead has concocted a curious nonfiction feature. Woodhead incorporates footage of Gebrselassie's 10,000-meter Atlanta triumph and cinema verite re-creations but oddly leaves out key aspects of the big race that could have made for far more involving viewing.
As a result, this long-distance saga, spearheaded by Terrence Malick and Edward R. Pressman, is an endurance that would have made more sense on the Disney Channel than in theaters, where its performance will be significantly less than Olympian.
Woodhead and ever-probing cameraman Ivan Strasburg spend a lot of time establishing the oppressive conditions in which Gebrselassie was raised. The eighth of 10 children born to a hard-working Ethiopian farmer and his wife, young Haile (Yonas Zergaw) is seen running barefoot here and there under the relentless African sun.
One day in 1980, Haile is huddled behind his family's mud hut, listening to a radio broadcast of fellow Ethiopian Miruts Yifter's successful 10,000-meter race at the Moscow Olympics, and realizes his destiny.
But by the time Haile is well on his chosen path, so much footage has been squandered capturing all of the National Geographic-worthy vistas that Woodhead and his editors (Saar Klien and Oral Norrie Ottley) are forced to cut to the chase without building effectively toward the big finale.
It's a shame, because a legitimate, crowd-rousing story can be found, ironically, in the media kit. According to the production notes, during the Atlanta race, Gebrselassie was boxed in by two members of the Kenyan team -- one in front, one behind -- pressuring him to run faster than he had planned in order to deplete his energy sooner. In addition, the eventual gold medalist had to cope with a severe blister on his foot that became infected during training.
But precious little of this dramatic gold has been mined in Woodhead's rigid, uninspiring portrait of Gebrselassie, whose potentially winning screen biography has been given the runaround.
ENDURANCE
Buena Vista Pictures Distribution
A Walt Disney Pictures presentation
of a La Junta Llc. production
in association with Film Four and Helkon Media Filmvertrieb
Director-screenwriter:Leslie Woodhead
Producers:Edward R. Pressman, Terrence Malick, Max Palevsky
Executive producer:Wallace Wolf
Director of photography:Ivan Strasburg
Editors:Saar Klien, Oral Norrie Ottley
Music:John Powell
Music supervisor:Hans Zimmer
Color/stereo
Cast:
Haile Gebrselassie:Himself
Haile's father:Bekele Gebrselassie
Haile's brother:Assefa Gebrselassie
Haile's wife:Alem Tellahun
Haile's police trainer:Tizazu Mashresha
Haile's mother:Shawanness Gebrselassie
Running time -- 83 minutes
MPAA rating: G...
- 5/13/1999
- The Hollywood Reporter - Movie News
A heartfelt and whimsical story, "The Theory of Flight" stars Kenneth Branagh and Helena Bonham Carter as disabled people thrust together who magically come to love one another. Unfortunately, this warmhearted film shows its story seams too transparently and may receive mixed reaction at the art house venues for which it seems destined.
In this scruffy delight, Branagh stars as Richard, a man frazzled by everyday life and his disintegrating romance with a loving banker. He takes to nonsensical, quixotic quests such as rigging up a homemade airplane and leaping off buildings on Charing Cross.
Not surprisingly, this captures the attention of the system, and "stressed" Richard is sentenced to community service. His assignment is wholly ludicrous, as one would expect coming from a social agency, but in this case, it's also magical. Fragile Richard must care for Jane (Bonham Carter), a young woman in the end stages of a terminal motor disease. Confined to a wheelchair and hunched, she's nonetheless a feisty spirit and, in many ways, healthier than poor Richard.
While the plot arc is transparently predictable, "Theory" bounds with energy and genuinely quirky moments. Screenwriter Richard Hawkins has crafted an uplifting scenario balanced with comedy and pathos -- it is genuinely touching. Under director Paul Greengrass' well-modulated guidance, this Fine Line release is generally pleasing entertainment.
Where "Flight" soars is in the performances: Branagh is wonderful as the addled, desperate Richard, and Bonham Carter flexes her acting muscles in her hunched portrayal that presents this woman's determination and desperation.
Technical contributions are spit and polish, and particularly eloquent is cinematographer Ivan Strasburg's tellingly framed compositions that clue us not only to the characters' daily struggles but to their transcendent inner natures as well.
THE THEORY OF FLIGHT
Fine Line Features
Credits: Producers: David M. Thompson, Anant Singh, Helena Spring, Ruth Caleb; Director: Paul Greengrass; Screenwriter: Richard Hawkins; Director of photography: Ivan Strasburg; Editor: Mark Day; Music: Rolfe Kent; Music supervisor: Sterling Meredith; Costume designer: Dinah Collin; Production designer: Melanie Allen; Casting directors: John Hubbard, Ros Hubbard. Cast: Jane: Helena Bonham Carter; Richard: Kenneth Branagh; Anne: Gemma Jones; Julie: Holly Aird. MPAA rating: R. Color/stereo. Running time -- 98 minutes.
In this scruffy delight, Branagh stars as Richard, a man frazzled by everyday life and his disintegrating romance with a loving banker. He takes to nonsensical, quixotic quests such as rigging up a homemade airplane and leaping off buildings on Charing Cross.
Not surprisingly, this captures the attention of the system, and "stressed" Richard is sentenced to community service. His assignment is wholly ludicrous, as one would expect coming from a social agency, but in this case, it's also magical. Fragile Richard must care for Jane (Bonham Carter), a young woman in the end stages of a terminal motor disease. Confined to a wheelchair and hunched, she's nonetheless a feisty spirit and, in many ways, healthier than poor Richard.
While the plot arc is transparently predictable, "Theory" bounds with energy and genuinely quirky moments. Screenwriter Richard Hawkins has crafted an uplifting scenario balanced with comedy and pathos -- it is genuinely touching. Under director Paul Greengrass' well-modulated guidance, this Fine Line release is generally pleasing entertainment.
Where "Flight" soars is in the performances: Branagh is wonderful as the addled, desperate Richard, and Bonham Carter flexes her acting muscles in her hunched portrayal that presents this woman's determination and desperation.
Technical contributions are spit and polish, and particularly eloquent is cinematographer Ivan Strasburg's tellingly framed compositions that clue us not only to the characters' daily struggles but to their transcendent inner natures as well.
THE THEORY OF FLIGHT
Fine Line Features
Credits: Producers: David M. Thompson, Anant Singh, Helena Spring, Ruth Caleb; Director: Paul Greengrass; Screenwriter: Richard Hawkins; Director of photography: Ivan Strasburg; Editor: Mark Day; Music: Rolfe Kent; Music supervisor: Sterling Meredith; Costume designer: Dinah Collin; Production designer: Melanie Allen; Casting directors: John Hubbard, Ros Hubbard. Cast: Jane: Helena Bonham Carter; Richard: Kenneth Branagh; Anne: Gemma Jones; Julie: Holly Aird. MPAA rating: R. Color/stereo. Running time -- 98 minutes.
- 12/22/1998
- The Hollywood Reporter - Movie News
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