The 2018 Film Festival: Entries

The internationally renowned IDU Film Festival is located here.
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The 2018 Film Festival: Entries

Post by Lauchenoiria » Sat Nov 17, 2018 8:47 pm

IDU Film Festival 2018


Best New IDU Film:
- Entries must be films made within an IDU nation and not released outside their nation of origin more than one year ago.
- Entry should consist of a plot synopsis, language(s) spoken, list of main characters & actors, any relevant production or background information.

Best IDU Classic Film:
- Entries must be films made within an IDU nation and released more than four years ago.
- Entry should consist of a plot synopsis, language(s) spoken, list of main characters & actors, information on why the film is considered a classic.

Best Actor in an IDU Film:
- Entries must be actors/actresses of any sapient species who has appeared in a film produced within an IDU nation in the last eight years.
- Entry should consist of details about the actor/actress and must cite a specific film they have appeared in.

Best Documentary/Non-Fiction Film (new this year):
- Entries must be non-fiction films made within an IDU nation within the last four years.
- Entry should consist of a synopsis of the film, language(s) spoken, any relevant production & background details.

Best Foreign Film:
- Entries must be films produced outside of the IDU, not released outside its nation of origin more than two years ago.
- Entry post should consist of a plot synopsis, language(s) spoken, list of main characters & actors, any relevant production & background details.


Every nation that has sent any entries to any category is entitled to cast one vote for each category. The nation has free choice over how to determine their vote. The exhibitors of independently submitted films are not entitled to vote.

The judges’ decisions are final.

OOC: you may enter films using puppets, however voting is restricted to one vote per player.


The winner of each category shall receive a golden butterfly statue and a certificate detailing the award, as well as the opportunities that come from the prestige of winning. The travel costs of the exhibitors of winning entries will be reimbursed, within reason.

The nation that wins the Best New IDU Film category will have the honour of hosting next year’s film festival in 2019. In the event of a tie, it is the responsibility of those governments to decide who has this honour.


The festival will take place in Buttercity, which is the capital of Lauchenoiria, situated in the north-east of the country. Films will be shown in a variety of cinemas across the city, and transport will be provided between venues if required.

Films may be entered by national agencies or independently (however, independent films will be vetted and their exhibitors are not entitled to vote).

Accommodation will be provided in the Butterfly Hotel, situated in the centre of the city, for all official exhibitors and judges, and for up to one other person accompanying each of these individuals. Further guests can be accommodated, but this will incur an additional fee. Any additional accommodation requirements should be specified at the time of booking.

Cars will be provided upon request, and guests will also be provided with a pass allowing unlimited travel on the city’s extensive public transport network throughout their stay. Guests are invited to make full use of this for sightseeing throughout their stay.

Each nation entering a film in any category is entitled to bring eight exhibitors or judges, plus an additional four individuals for each additional entry.

Further Information

The start date for posting entries is Monday 19th November 2018. The closing date for entries is Monday 3rd December 2018. Deadline extended until 10th December.

Voting will take place from the 4th December 2018 until the 12th December 2018. for two weeks after the close of entries.

If you have any further questions, please get in touch. Entries should be posted in this thread from Monday onwards.

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Re: The 2018 Film Festival: Entries

Post by Tobora » Mon Nov 19, 2018 7:10 pm

Best Documentary/Non-Fiction Film (new this year)

Cheese Curds: Inside the Toboran Cheese Industry
The film focuses on the growing Toboran industry of Cheese Exports. With Tobora's great cattle ranches and dairys comes great cheese. Tobora's distinct cheese tastes are that of no other country (suck it, France). The film follows the cheesemaker, Panir Stilton as he rises to the top of the Toboran cheese industry. The film delves into the rich history of cheesemaking in Tobora and it's darkest days. This is, Cheese Curds: Inside the Toboran Cheese Industry.
Language: English
Produced by CHR Production ( ... subscriber )
Filming Dates: April 2014- August 2017
Released: July 2018
Director: Sllis Niloc

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Re: The 2018 Film Festival: Entries

Post by conterniasgloriousleader » Sat Dec 01, 2018 1:48 am

Best New IDU Film

His Numbering Clock
A Conternian college graduate born into a wealthy family is drifting aimlessly when he discovers the long-hidden diaries of his disowned grandfather, who it turns out was a communist radical who attempted to start a revolution in Conternia in 1953. As he reads about these long-ago events, he begins to see parallels in his own life and becomes convinced he is destined to carry out his grandfather's mission. A rich, atmospheric psychological drama about historical memory and legacies, the latest film from acclaimed Conternian writer and director Alexander Larsson is expected to be one of the year's most complex and controversial films.
Language(s): English, Swedish
Produced by The Kiwi Bird Film Foundation, Sublime Films
Filming Dates: January - March 2018
Director: Alexander Larsson

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Re: The 2018 Film Festival: Entries

Post by Libertas Omnium Maximus » Sun Dec 02, 2018 7:01 pm

A Wall

Best New IDU Film Candidate
Directed by Aleksandr Stainislov
Genre: Drama
Filming dates: October, 2016 - March, 2018
Production company: Anounymouse Studios in association with Vista Grande distribution company
Filmed in English with Spanish, French, German, and Swedish dubbing

After his family is killed unexpectedly in a plain crash, economist, Norton Philips (Michael Broughn), finds his life aimless and trivial. In a desperate attempt to find meaning in his life, Philips travels to a monastery in northern Libertas Omnium Maximus. He becomes an acetic and soon discovers that he is still not pleased or fulfilled. The movie details his desperate search for fulfillment and purpose in a world that seems to have neither in mind. Directed by LOM national film festival winning director Aleksandr Stainislov and considered to be perhaps his most provocative work.

Critical Response
The movie has notoriously fantastic cinematography and directing. The entire movie was shot on location making each scene look truly exquisite. The movie itself has been called "highly provocative, if a bit long and wordy." Overall, review for A Wall average about 97-98%.

For your consideration, A Wall!
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Re: The 2018 Film Festival: Entries

Post by Gnejs » Mon Dec 03, 2018 1:51 pm

PUG entry for Best New IDU Film

The Letter

Iver is an experienced structural engineer and senior adviser at the Department of Rail Transport in the Ministry of Infrastructure. While being a successful a well-respected civil servant, he struggles with feelings of anxiety and is burdened by a growing sense of meaninglessness.

When the Interior* is ravaged by wildfires in the summer and early fall of 2018, it wreaks havoc on parts of the Cross-Country Railways and severely hampers communications between eastern and western Gnejs. While working intensely with the technical and logistical aspects of managing and resolving the situation, Iver and his co-workers also has to endure forceful public scrutiny and criticism concerning apparent weaknesses in planning and emergency preparedness. Iver, as a senior Ministry servant and expert, is tasked with addressing both the press and the public on several occasions, and consequently, he starts receiving letters, emails and phone calls; everything ranging from angry rants from western farmers to concerned family members inquiring about their loved ones living within some of the many homesteads scattering the Interior.

Amongst the many letters, his attention is drawn towards one dated 23rd of August 1991. Upon reading, he realizes that the letter is identical to one that he himself wrote; a love letter aimed at a young man whom he met and fell in love with while visiting his uncle on a summer vacation on the north-eastern coast all those years before. With the pressure mounting, and the offices of the Department almost oscillating with activity, Iver decides to break away. He calls in sick and travels north with the Coastal Corridor from Port Kejm to the fishing and fish farming town of Urrsvika in the east of the region of Berg.

In the midst of the seasonal rain, Iver starts walking the streets of the quaint town and as the movie flashes back to the summer of '91, we get a view of Iver and his new friends Vidar and Elsa, and their lively and untroubled relationship. Two days before the end of that summer, when Iver is about to return home, we see him writing the letter where he proclaims his love for Vidar. When he arrives at Vidar's house, he finds the boy's mother crying on the doorstep, and it turns out that Vidar has suffered a fall that resulted in his death after diving from a cliff. Iver, stricken with grief, tears his letter to shreds and runs.

In the present, Iver's wanderings have brought him to Vidar's old house. As he sits by the side of the road, a young girl approaches him. She inquires if he got her letter, and proceeds to tell Iver the story of how she came into possession of it. Unbeknownst to Iver, Vidar and Elsa were lovers, and Elsa became pregnant that summer. Years later, Vidar's daughter found Iver's letter, meticulously pieced together, in an old drawer. While deeply intrigued by the boy who loved the father she'd never met, she never dared ask her mother about Iver. The death of Vidar still plagued her mother, and she rarely spoke of him. During the height of the summer's wildfires, Elsa and her daughter are watching the news, and as Iver's name and face appears on the screen, Elsa shrieks and quickly leaves the room. Piecing two and two together, the daughter surmises Iver's identity and sends him a transcribed copy of the old letter in the hopes that he will come north. At the daughter's request, Iver tells her of Vidar and all his fond memories of that summer years ago. Before departing, they share a hug.

At the closing of the film, Iver returns to Port Kejm and volunteers to be lead engineer on one of the big reconstruction projects deep in the Interior.

*A vast forested area in the middle of Gnejs. Home to a large population of homesteaders, but other encroachments are heavily regulated by a number of different laws. (for example The Interior and the Right to Homesteading Act of 1891).

Domestic reception and trivia
Domestic reception was divided, with some praising the low-key storytelling, while others complained the movie lacked momentum and bordered on being outright boring. All agreed that the cinematography was exquisite, especially the scenes shot on location in Urrsvika and the coastal surroundings. Lead actor Martin Strand received praise for his portrayal of Iver, in particular his way of "acting-without-speaking", pointing back towards the fact the Iver doesn’t actually speak much throughout the film.

The movie makes quite a few references to the (at the time of production ongoing) Second Lauchenoirian Civil war, mainly by including excerpts from radio news broadcasts in the background of several scenes. In the domestic reception of the film, a number of critics interpreted the character of Iver's indifference towards these current events – despite them being continually present – and his preoccupation with his own troubles as a critique of the Unionist government and their treatment of the conflict.

Ellinor Sørfold

Main characters:
Martin Strand – Iver (adult)
Johan Menner – Iver (young)
Baard Gardar – Vidar
Ingrid Aegis – Elsa
Johanne Gram – The daughter

Languages spoken:
Swedish, Norwegian, English

29th of November, 2018

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Re: The 2018 Film Festival: Entries

Post by United New England » Sat Dec 08, 2018 11:22 pm

Title: What the Janitor Saw
Category: Documentary/Nonfiction
Production company: Orson Films
Directed by: Jeremy Kazanjian
Edited by: Jade Sannavongsay
Languages: English, French with English subtitles
Running time: 92 minutes

This documentary follows custodians in multiple New England workplaces as they clean, watch, and listen.

Part I: Clemence, a beloved community member and grandmother, is the janitor at a small high school near the Quebec border in northern Maine. The community is divided along linguistic lines, as it is almost exactly half Anglophone and half Francophone. The usual high school drama of infidelity and intrigue is augmented by the cultural divide, especially when two students are found having a secret tryst in the locker room. Clemence dispenses sage life advice to the town’s teens as she wipes their cafeteria tables and sweeps their classrooms, but will it be enough to keep them on track?


Part II: Zivanai, a hardworking young man from Zimbabwe, is a cleaner at Massachusetts General Hospital in Boston. As he mops floors and disinfects sinks, he quietly witnesses events like a child’s emergence from a coma and a fistfight between two visitors. Meanwhile, Zivanai and a few of his coworkers are determined to bring down a Patriarca Mafia loan sharking scheme that targets the hospital’s disadvantaged immigrant workers. They must be cautious, since revealing their plan too early could make them the enemies of a Mob member.


Part III: Edwin works as a part-time custodian at a busy bed and breakfast in the mountains of northwestern Connecticut. He was born with Down syndrome and has a mild intellectual disability. Guests often assume that he won’t fully grasp their conversations, but amiable Eddy understands more than he can easily express. His quiet life of dusting bookshelves and changing bedsheets is shaken up when he overhears the vice chairman of an American bank hiring a hitman over the phone. Can Eddy find enough evidence to convince the bank’s chairman that his life is in danger?


Audiences will love watching What the Janitor Saw, a film full of both shocking surprises and heartwarming human connections.

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Re: The 2018 Film Festival: Entries

Post by Libertas Omnium Maximus » Sun Dec 09, 2018 3:55 pm

George Herbert

AGE: 38
Notable Movies: Unhinged, 46 minutes, A Culmination of Disasters, Malleable Fabric
Awards/Nominations: Maximusian Actor's Guild: Best Actor of the Year Award (2017), Pierce Brown Award (2014)

George Benson is nominated as best IDU actor for his provocative and extremely difficult portrayal of a maniac in Unhinged. Movie goers were astounded by his uncanny ability to truly behave, speak, and interact with others like a lunatic. His character is considered to be perhaps the single hardest to portray of any protagonist in a decade. Yet he pulled it off. He effectively balanced a the truly insane side of his character with the more sane and relatable side. All in all he is considered to be one of the best actors of his time.

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Re: The 2018 Film Festival: Entries

Post by Laeral » Sun Dec 09, 2018 8:15 pm

Best IDU Classic Film Entry: The Boarding-School

Synopsis: The year is 1952. Daniel Brunet is a sixteen-year old student, who is enrolling at the prestigious St. Simone Academy, in rural Choisel province. Although St. Simone is a boarding school reserved for the wealthy, Daniel and his sister have been given a scholarship to attend since their parents are believed dead in the ongoing civil war known as the "Bloody Summer". The other students all come from upper-class backgrounds, while Daniel's family does not. The early scenes are primarily light-hearted and comedic, with the main focus being on the disconnect between Daniel and the other students. Daniel, for instance, is shocked to discover that the school has horses and that he must take dressage as a course, and is unable to master the fine dining offered in the school dining hall. His roommate at the school is Jean-Claude, the rebellious and charismatic heir to a hotel company who is overjoyed to be boarding with Daniel. They are fast friends after Jean-Claude takes pity on Daniel and shows him how to behave among the other students. Daniel and Jean-Claude have the same History teacher, Mr. Faure, whose class they enjoy greatly due to his engaging teaching style. Mr. Faure speaks up in Daniel's defense when the school's Headmaster tries to give him suspension for 'improper behavior', earning Mr. Faure Daniel's loyalty.

The second act begins as Daniel finds an injured bird on the school grounds. He takes it to Mr. Faure, and they agree to help it recover, despite the academy's no-animal policy. While Daniel is trying to sneak the bird into Mr. Faure's office the next day, he runs into Caroline, a female student at the school, leaving the office. She explains that she has been starting a "Current Affairs Society" at the school, with Mr. Faure as sponsor, and asks if Daniel wants to join. Daniel accepts, as does Jean-Claude later on. They, along with several other members (Nicole, Robert, Jacqueline, and others) begin to hold meetings to discuss current events, with Mr. Faure guiding debate. Daniel brings his own perspective as the only non-wealthy person at the club, while he is impressed with Caroline's knowledge and wit. The topic coming up most frequently is the ongoing civil war between supporters of the left-wing government and a large segment of the military led by would-be dictator Alain Mette. News on the progress of the war is restricted by the Headmaster, and discussion of it forbidden, since many of the parents of the students attending the Academy support opposing sides. The club provides a way for the students to discuss and swap rumors about the war, despite this being a violation of school rules.

The focus of the film gradually shifts from Daniel's classes to his role in the club. Various other students, including Nicole (Caroline's roommate), Robert (one of the only Rén students at the boarding school), and Jacqueline (whose parents are prominent supporters of Alain Mette) are introduced, and their discussions are featured, with Mr. Faure subtly shifting the conversation in an anti-Mette direction. At one point, Headmaster Muller comes upon the club unexpectedly, and only by having Daniel delay him are the students able to hide the evidence of their proscribed discussion. The club holds a meeting one day in early winter, with Caroline bringing a rumor that Alain Mette's army is advancing through the province. The meeting is interrupted by the sounds of gunfire outside, and soon rebel soldiers are marching along the road near the school. A group of soldiers tries to come into the school to occupy and loot it, but are furiously turned away by Mr. Faure and other teachers. School resumes as normal, but with soldiers camped on the school grounds outside, whom the students are warned against fraternizing with.

Daniel, meanwhile, has become romantically attracted to Caroline, and is trying to work up the courage to ask her to the school's upcoming Winter Ball, with Jean-Claude trying to help him do so. He asks her after class one day, and she says that she is unsure. Daniel is on his way back to his dormitory when a group of boys confront him in the hallway, but he is saved by Jean-Claude's timely arrival. Caroline is shown asking her roommate, Nicole for advice. Nicole counsels her to accept, saying that "maybe this Daniel will make you happy, and if not, than you haven't lost anything". Caroline tells Daniel the next day that she will go with him. At the Winter Ball, Caroline and a Daniel overjoyed with his good fortune are in the middle of a dance when rebel soldiers run in, bearing an arrest warrant for Mr. Faure, who they claim is an "enemy agent" who has been spreading "treasonous propaganda". Mr. Faure, who had been at the Ball, has disappeared somewhere, and when the students and teachers have no knowledge of where he is, the soldiers announce that they will search the Academy grounds. Daniel and Caroline slip off, hoping to find and warn Mr. Faure. They first search his office, where Caroline spots some proscribed newspapers urging resistance to Mette's forces. They grab them and slip off, using the school's back corridors to avoid the patrolling soldiers. Despite several close calls along the way, the two eventually find Mr. Faure, hiding in the attic. The three of them escape right before the soldiers enter, climbing across the roof while still in formal clothing to escape to the edge of the school grounds. Daniel asks Mr. Faure what he will do next, and he replies that he will escape to relatives in Laeralsford. Daniel and Caroline offer to go with him, but he refuses, saying that it is too dangerous. He urges them to keep up the Current Affairs Society, and to resist the rebels in whatever way possible. Caroline and Daniel express their sadness that he is going, and then he bids them farewell, slipping off into the night. Caroline and Daniel sneak back into their dormitories and say goodnight to one another. As the credits begin to play, we see Caroline and Daniel holding hands and watching as the soldiers, having failed to find Mr. Faure, march away from the school.

Languages: Originally in French

Main Characters:
Daniel: Olivier Beauvais
Caroline: Evelyne Courtois
Mr. Faure: Joseph Delmas
Jean-Claude: Albert Gomes
Nicole: Delphine Brunet
Robert: Michael Chang
Jacqueline: Rachel Aubry
Headmaster Muller: Patrice Joly

Filmed in 1989, The Boarding-School is based loosely on the director, Antoine Hamel's, experiences during the Bloody Summer, and seeks to capture both the innocence of his life at the boarding school and the very real danger of the Bloody Summer. Many Laeralites who had lived through the Bloody Summer empathized with the work, while it's mockery of snobbery and class differences struck a chord with many living in a period of rising income inequality. The film overall was very well-received, and inspired a number of other films seeking to feature the lives of children and teenagers.
Best Actor in an IDU Film: Olivier Beauvais

Actor Information: Olivier Beauvais was born in 1971, in the Laeralsford suburbs. He expressed an interest in acting at a young age, excelling in drama classes throughout his childhood before becoming a Theatrical Arts graduate at the prestigious National Institute for the Arts. From there, Beauvais moved into the theater world, beginning with Shakespeare and other stage classics before landing his first major role as Rev. John Hale in the first-ever Laeralian production of The Crucible by Arthur Miller, which won him great acclaim. Concurrent with his time on the stage was his career in film, starting with 1989's The Boarding-School. From there, he began to take more film roles, largely in high-brow productions. In 2017's Brushstrokes, he played the Marquis de Corday, an enigmatic nobleman and conspirator. Beauvais continues to act today. His nomination draws the attention of the judges to his role in The Boarding-School as Daniel, his first ever film role. In the film, he brings his skills from the stage to the silver screen, providing an extraordinarily believable and vibrant depiction of a teenager. His varying interactions with others spotlight his acting skill.
Best Documentary/Non-fiction Film: What's In a Name?

Synopsis: What's In a Name? delves deep into the history, meaning, and cultural significance of names in Laeral. Moving chronologically, the film begins by discussing the "60 Families", or the sixty familial names that virtually all Rén have one of. The film explores the historical edicts that established the special status of these names. The film then moves into a discussion of the words and characters used in Rén names, 'painting' many of them on the screen in ink to illustrate the significance and meaning of each one. The film addresses the names favored by Arrivée upon colonization, and how many of these names were adopted as the names of Laeralian provinces. The film also covers the 'Rén Naming' movement of the 1970s, which sought to promote the use of traditional Rén rather than Arrivée names for Rén children as a source of pride in Rén cultural heritage. The film ends by analyzing trends in current Laeralian names, seeking to paint a picture of how social pressures, tradition, and the hopes that children will be successful impacts the names children in Laeral are given.

Release Information: Released February 2018 in French and Min Chinese
Directed by Thomas Bai and Morgane Xun
Last edited by Laeral on Mon Dec 10, 2018 11:11 pm, edited 1 time in total.

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Re: The 2018 Film Festival: Entries

Post by Libertas Omnium Maximus » Mon Dec 10, 2018 5:35 pm

Ludos Labyrinthos

Best IDU Classic Film
Year of Release: 1967
Genre: Sci-Fi/Fantasy
Staring: Joachim Vaughn
Director: John Bergan
Languages: Originally in English, French dubbing (1971), German dubbing (1975), Spanish Dubbing (1975), Swedish Dubbing (1978)

The movie opens on a dimly lit room. Four etherial figures, shrouded in darkness, are seated around a small table. The camera slowly pans over the table revealing an odd board, the silhouettes of cards, and brown, worn out dice. The first die is suddenly tossed. A five appears on the rolled dice and the screen goes dark.

A man bolts upright in an unfamiliar bed. He is overcome with a sense of urgency and fear as he realizes he is trapped in some sort of a maze. The nature of the maze changes with, unknown to him, every roll of the dice in the dark room. Slowly, he realizes that his purpose is to make it into the center of the maze, which is where the dark room, and win the game against the four etherial figures. Will he be able to, or will he fall victim and die in a truly horrific game.

Critical Reception:
Notoriously "trippy," Ludos Labyrinthos is regarded as one of the most mind-boggling movies in Maximusian History. While most people loved it for its relatable protagonist and ingenious plot, some critics found it to be "hard to follow to say the least." Overall, it is usually regarded as an excellent Sci-Fi/Fantasy and was given a 96% on the MCRI (Maximusian Cinematic Rating Index).
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Re: The 2018 Film Festival: Entries

Post by Bears Armed » Mon Dec 10, 2018 7:03 pm

Category: Best Documentary/Non-Fiction Film

Title: Life in Iffurrien

A Natural History documentary, narrated by the famous Ursine broadcaster & naturalist Darroth Abbenturret*, that gives the viewers a through-the-year look at some of the glorious wildlife which exists within the little-visited (and thus, even by Ursine standards, “unspoilt”) forest of Iffurrien. This is a large expanse of woodland — some patches with all ‘broadleaf trees, some patches with all conifers, but mostly mixed — with smaller areas of various other ecosystems such as lakes or meadows or rocky slopes (and some quite spectacular ‘Karst’ limestone scenery) scattered through this, and is located at the eastern side of this country’s ‘Mainland’ section.
(See this map: Iffurrien is the area, in purple, marked with a silver letter ‘J’ and with an arrow labelled ‘33’ also pointing into it.)
The main species featured include ‘Great Deer’ (whose most commonly name in RL, where they’ve actually now been extinct for several millennia, is ‘Irish Elk’; small herds have been preserved in Iffurrien, & in a few other areas around Bears Armed, through the efforts of the TrueBears** ); the magnificent ‘StarFlower Tree’ (no close RL counterpart), which also grows in only a few other places; the Flying Marten (an agile member of the Weasel family which, unlike any of its RL relatives, can spread flaps of skin out between its limbs to glide from tree to tree or to drop onto prey below; this does have a wider range, but is much shyer in more populous areas); Iffurrien’s endemic White Squirrel; two species of Shrike-Rollers (colourful birds, distantly related to the Kingfishers but of a type that has no exact counterpart in RL, whose range doesn’t extend much further into Bear Armed); Lake Sturgeon (species endemic to Iffurrien]; Cave Shrew (a small & primarily insectivorous mammal, ‘placental’ but of a relatively ‘primitive’ type, not closely related to the “true” Shrews; the ‘karst’ section of Iffurrien might be the only place within Bears Armed it currently lives); Woods Bison; and the ‘Creeping Yew’, which is a coniferous shrub also endemic to Iffurrien.

Production Details
Studio: Bears Armed Broadcasting Corporation (Natural History Unit)
Date of release: 2018
Language used: English (although a version in Ursine also exists)
Running Time: 4 hours, with 3 intermissions; The BABC also will be broadcasting a longer version as a television series, with eight episodes @ one hour each, starting in approximately a year’s time.
Producer/Director, Writer/Narrator: Darroth Abbenturret
Assistant Producer (Iffurrien): Haerren.
Assistant Producer (Admin.): Jharri White.
Head of Cinematography: Sarra LightChild.
Edited for cinematic release by: Darroth Abbenturret, Sarra, LightChild, and Alan Smithers.
Soundtrack composed/arranged/conducted by: Arri Carpenter.

* Yes, this 'Darroth Abbenturret' is basically the Ursine counterpart of RL's Sir David Attenborough. :bear:
** The ‘TrueBears’ are a people who basically compare to this nation’s standard Ursines much as Tolkien’s ‘Elves’ compare to humans. The entire forest of Iffurrien is one of the areas specifically under their direct protection.


Category: Best New IDU Film

Title: Urrth’hro True, Night-Hunter: The Case of the Silver BereWolf

Genre: Adventure/Mystery/Horror

Urrth’hro True (1) is ‘the Night-Hunter’, latest in a hereditary line of champions who protect Bearkind against the forces of Chaos and Evil (2)(3). He is visited in his office by an attractive young she-bear named Marryana Baskingvale, from a family of prominent land-owners whose home lies close (“Too close!”) to the country’s eastern border and thus to the area called ‘the Hazardous Wastes’ (4) beyond that. Legend tells that one of their ancestors killed a horrific ‘BereWolf’ — a Bear cursed by Chaos, who must transform into a monstrous & ravenous wolf-like [but considerably larger!] form on the three nights closest to each month’s New Moon — in the area where the family now lives, and that in fact this deed was why they were granted those estates in the first place. Now, after yonkhs (5), however, it seems that either the original BereWolf has somehow risen from the dead or the curse that it bore has found a new victim: First, large numbers of both wild animals and domestic livestock started being found torn to shreds and partly devoured; then, some of those people who dared peer out into the night started reporting sightings of a huge and silvery-glowing lupine form in the distance… and now people themselves have started to disappear, in the latest case [before Marryanna left to seek aid) from a cottage that was smashed open. Will Urrth’hro go to her people’s aid?
Of course he will. Pausing only to acquire some extra weaponry and gadgets from his inventor friend ‘R’, and to consult with scholar Professor WhiteBear (who can’t tell him much at such short notice, but promises to do more research into this situation’s background and send the results onwards), he and Marryanna catch the weekly passenger-boat upstream.
IC, the Bears say that that’s all they’re giving away and that if you want to know more about the film then you’ll have to watch it; OOC, that’s all that I could find the time to write, and if I tried to add any more now I’d probably find myself trying to write the ENTIRE script…
Main Cast
Urrth’hro True: Urrthron SunBlessed.
Ferrmah, his secretary: Arraena Silverbear.
Doctor WhiteBear: Jharrge WhiteBear *
‘R’: Goodbear Mercer.
Marryana Baskingvale: Karra o Jherran
Mayor Arrthraim o Wildooods:
Sherriff Sarrue o WildWoods: Marra Longwater
Hrrogh’hurr Baskingvale: Danno o Jherran
Jarrkh Baskingvale: Korrvhan Redsmith
Grrufh: Hrrock o Surra
Barrbogh: Harrnock BigBear
Professor Arrunh o Westfells: Wirran Greybear
Armas the Hunter: Berrin o GreenWoods
The Sorcerer: Laurrimt Grey
Torrwin Rangh’harr: Garraeon Rangh’harr
Members of the ‘The Big Bears’ Warrior Society: [as it says]

Production Details
Studio: 21st Century Bear
Date: 2018
Language used: English
Running Time: 1 hour & 45 minutes

Producer: Irrsyan TalkingMountain
Director: Jharrge Whitebear *
Head of Cinematography: Hrogh’hurr Korrbear
Special Effects: ‘Artistic Light and Magic’
Soundtrack composed/arranged/conducted by: Arri Carpenter.

(1) ‘True’ really is a genuine Ursine surname. There are two lineages that still use it in modern times, one of them in the ‘Silver-of-Night’ clan and the other in the ‘Sun Clan’. This film, like most earlier stories about its hero, is vague about whether it hero actually belongs to one or the other of them: The actor who portrays him is from the Sun Clan, but is of mixed parentage with fur of a shade that wouldn’t be out of place among the ‘Silver-of-Night’ either.

(2) He originally starred in a series of pulp novels, decades ago, mainly confronting fairly mundane criminals who had imported new ideas or equipment from the lands of the Humans — with an occasional ‘mad scientist’, or runaway creation of theirs, thrown into the mix — with hardly any “genuinely” supernatural elements present at all: In fact Urrth’hro himself, appearing mysteriously & suddenly out of the night with his un-nerving laugh and his ability “to cloud the mind of bears”, was arguably the closest thing that the series had to a supernatural being…
“Who knows what evil lurks in the livers of bears? The Night-Hunter knows!”
This film, however, draws more strongly on a radio series that the BABC created much more recently: Urrth’hro has been changed from a mysterious figure whose background and home nobody knows into this “hereditary champion” whose day job is as a ‘private nose’ [i.e. ‘private eye’], almost all of his cases involve the supernatural, his former supporting cast aren’t mentioned, and he’s been given a new introduction**:

“These are the Woods.
“These are the Wild Woods.
“These are the deep, dark, secret-haunted Woods that lie out beyond the boundaries of civilisation…
“Yes, even beyond the boundaries of Ursine civilisation.
Humans live in these woods, nor many Bears neither…
“And yet through these shadowy woods, sometimes a lone Bear must go: A Bear who is not himself consumed by the shadows, who is neither tarnished nor afraid; a Bear who knows what he fights for, and loves what he knows.****
I am that Bear.
“I am Urrth’hrro True, The Night-Hunter.”

(3) To the Bears, ‘Chaos’ and ‘Evil’ are generally recognised as two separate supernatural forces that are both inimical to normal life but that —fortunately — are even more hostile to each other than they are to everything else.

(4) That area was blighted (and “cursed”) during the ‘Wizards’ War’ in which these lands’ previous Human civilisation self-destructed, nearly two thousand years ago, and still gives birth to monsters… most recently, mainly to “woozles” and “heffalumps”, with the occasional wyvern or less easily definable flyer (colloquially, nowadays, a “jabberwocky”) as well.

(5) In RL, “yonks” is just a colloquial term for “a quite long, but undefined, period of time”: In the Ursine language (and, from that, in the Urso-English dialect as well), however, a “yonkh” is specifically eight-squared [i.e. sixty-four, in base-10 numbers], and as mainstream Ursine culture uses base-8 numbers this word can thus be used in the sorts of situations where we might refer to “centuries”.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

* Yes, the director had a minor role for himself, as a fictional character, written into the script: His doing so is considered one of his “trademarks” by now, although he wasn't the first Ursine director to do this.

(** You might recognize parts of this speech: It includes a bit adapted from the works of Raymond Chandler, and then one that was “borrowed” from Oliver Cromwell!)


Category: Best Classic IDU Film

Title: Artos of Nutwood

Genre: Biopic/Epic (Religious)

This film isn’t just a magnificent epic, it’s a biopic of Artos Ursios who, in a major religion that takes its name of ‘Ursionity’ (1) from him, is essentially the closest that the Bears get to having a ‘Jesus Christ’ figure of their own.
Artos lived and was killed and rose from the dead in a distant island called ‘Bruttain’ (2), a long time ago: The precise dates can’t be pinned down now, because the people who brought this religion to Bears Armed had moved across several different Earths during their migrations before they reached this land and it’s strongly suspected that at least one of their journeys between worlds had also involved a significant time-shift…
Artos was a son of The Great Bear (God, the Creator), fathered miraculously — in a dream — on Mother Marra who was a retired priestess (and, as later revealed an avatar) of Mother Nature although she was supposedly too old to conceive. He was raised by Marra and by her husband, the stone-carver Jarroth, whom she had married after retiring but before the conception. At first they had to live in exile in the land of Emeraldisle (3), for fear of a King named Harrod (the ruler of most of southern Bruttain, but from a tribe of fairly recent invaders called the Bulgae (4) whose belief in The Great Bear was new & mostly weak…) whom it was known had received a prophecy about the birth of a new “King of the Bears”: They were warned by the ‘Three Wise Birds’, Eagle and Owl and Raven, who were then miraculously enlarged so that they themselves could carry Artos and his parents (5) to this safer location. Later, however, the family slipped back into Bruttain and set up home in the village of Nutwood — which was in a western province that lay outside of Harrod’s realm — where Marra became owner of the local tavern, the 'Hope and Glory'. Artos worked a few miracles during his childhood, at least twice to confound a local chieftain’s troublemaking son Hreggo Blackcloak who was a couple of years older than him; He confounded priests of The Great Bear at the holy city of Sarum (6) Sarum (including Abbramerroch, who was later the Chief Priest there) with his knowledge and understanding of the holy books when he was taken on a visit there — although that place did lie within Harrod’s kingdom — for his twelfth birthday.
And then, at the age of twenty-four, Artos set out on a preaching mission — preaching not only to Bears but to all peoples (7), gathering followers (8) and working miracles (9), as he went — that ended at Sarum on the festival of ‘Sermharn’ (10). Harrod sent troops to seize him, guided by Hreggo Blackcloak who was now a priest at the great temple, and when the Chief Priest Abbramerroch to prosecute Artios for heresy — “or for ‘capital blasphemy, or something else that that justifies execution” as Harrod put it — he persuaded his ‘Romaine’ (11) overlords that this “young upstart” had to dealt with decisively before he managed to start a rebellion.
Artos was put to death by Romaine soldiers on a hillside at Sarum, just outside the Temple (which was actually a desecration of the site whose seriousness neither Harrod nor the Romaines recognised in time…), by impalement and under a placard on which had jokingly been inscribed the letters ‘ANRU’ which stood for — in the Romaines’ ‘Lapin’ language — “Artos Nutwoodensis, Rex Ursinae” [ “Artos of Nutwood, King of the Bears”]. Both Abbramerroch and Hreggo, who had offended the Romaine governor, were also impaled there — although on longer & sharper, and thus more quickly lethal, stakes — alongside him. His remains were then shovelled into a quickly-dug hole on the plain below, in an area that was often used for burials, with a heavy but unmarked stone slab placed on top when the grave was filled in again so that it would be harder for his followers to exhume him… but He rose from the dead fully-healed, at the following Spring Solstice, and continued his preaching for a while before ascending bodily into ‘The Great Forest’ [i.e. Heaven] aboard a golden chariot. And so, the city of Sarum came to be known widely as ‘Holy Sarrum’ which is ‘Urru-Sarum’ (12) in the Ursine tongue…

Footnotes on Synopsis

(1) Ursionity is [arguably] the second most important religion in the ‘Mainland’ section of Bears Armed, after ‘One Plus Seven’, and it is actually quite common for people to belong to both of them at the same time. I already had a lot of the details about this religion and its origins worked out, and bits of this have already appeared in my earlier RP in the game’s forums. (I hope that any of you who are Christians will accept this is honestly meant to be a [fictional, in OOC terms] alternative reality’s parallel revelation rather than just as a parody…)
(2) ‘Bruttain’ is that world’s version of Britain, of course, and I borrowed some background from the medieval author Geoffrey of Monmouth’s famous ‘History of the Kings of Britain’ — as well as from the Bible, and from folklore — during its development.
(3) ‘Emeraldisle’ = Ireland (used here in place of the biblical Egypt).
(4) Approximately counterparts to RL ‘ancient’ Britain’s ‘Belgae’ tribe.
(5) This scene was filmed using models and ‘stop-motion’ effects, in a similar style to the work of RL’s Ray Harryhausen.
(6) i.e. @Old Sarum’ as we know it today, a hill-top site several miles from the centre of modern Salisbury [in Wiltshire, England].
(7) He had nine main disciples, one for each of the ‘Eight Instructions’ (their religion’s equivalent of the ‘Ten Commandments’) "and one more for the new message", as is commonly said.
(8) The peoples among whom he travelled were Bears, ‘Brocks’ (i.e. anthropomorphic Badgers), ‘Katts’ (i.e. anthropomorphic Cats; they had been the dominant people in those islands before the Bears arrived, and at that date still controlled wide areas in [RL] Wales and the northern parts: one of them became not just Artos’s only non-Ursine disciple but his only female disciple too, this being the dancer ‘Marra Mograkatta’…), Ravens, and maybe even others…
(9) Miracles such as restoring not only a full & healthy coat of fur but also health itself to the tax-collector Bassarross, who had been almost bald & almost dead due to a disease — which, fortunately, is not present in Bears Armed — called ‘Terminal Mange’…
(10) ‘Sermharn’ is essentially the Celtic ‘Samhain’, a festival held in early winter to commemorate the dead (a weakened form of which survives today, of course, as ‘Halloween’).
(11) The ‘Romaine Empire’ doesn’t take its name from the ‘Romaine’ variety of Lettuce, in this setting it gave its name to that crop because the Romaine people — who were actually anthropomorphic Rabbits, making up for their individual physical weakness [compare to, for example, Bears] with numbers and cunning — planted it wherever their rule extended.
(12) I had already decided that “Urru” was an Ursine word for ‘Holy’, quite a while before developing Ursionity’s history this far, so that new name was a fortuitous coincidence. Still, the religion’s followers — not just in exile from their religion’s land of origin, but now on a different version of Earth entirely — sometimes use the toast “Next year in Urru-Sarum!” (as the dispersed Jews, in RL history [at least before the creation of modern Israel], sometimes toasted “Next year in Jerusalem”…)

Main Cast

Artos (as a child): Jamms Redmile
Artos (aged 12): Artorrios Flowerdale
Artos (as an adult): Urrthtron Flowerdale (older brother of Artorrios)
Mother Marra: Marra Redmile (actual mother of Jamms Redmile)
Jarroth the Stone-carver: Jharrge Steward
King Harrod: Mahrron o GreenWoods
The Witch of Yavin: Arrissa Albaene
First Guard-Captain: Barrchock BigBear
Raven: Rhaak Hrahrn Arckh (a talking Raven; also doubled by a model, for which she provided the voice)
Eagle: Grahark Arch’hrakh Yrrakh (a talking Raven, providing the voice for a model)
Owl: Kharrch Brakkr Hrakkah (a talking Raven, providing the voice for a model)
Jorrath of Tarrchehron, a merchant: Ferrad Redmile (brother to Marra)
Hreggo Blackcloak (as a child): Errrogroth Marhgon
Hreggo Blackcloak (as a teenager/as an adult): Derrroth Marhgon (father of Errogroth)
Abbramerroch, a priest (later the Chief Priest): Urrth’hro o Jherran
Jamms, son of Jorroth [disciple]: Peddar Redmile (nephew of Marra and Ferrad)
Peddar, also called Sermharn, a fisherbear [disciple]: Erron RiverBear
Amdrrawn, brother of Peddar, another fisherbear [disciple]: Wirremh o SwanWater
Tarrms, a tinker [disciple]: Borrin o Jherran
Bearrabachurr, a bandit leader: Barrchock BigBear (in his second role)
Marra Moggrakatta, a Katt, a dancer/acrobat [disciple]: Marra Faithbearer (a human actress in a full-body costume... which didn't keep her from doing a verrry impressive dance routine to celebrate the character's liberation, by Artios himself, from Bearrabachurr & his gang)
Yorrn, a schoolteacher [disciple]: Yorrnarran Smith
Marrauth, a retired soldier [disciple]: Tarromon o Herrchaum
March’hrren, a message-runner [disciple]: Truthteller Westerhills
Pallos, a herbalist [disciple]: Jirroth o Jherran
Jamms, son of Jorrn, a freelance scribe [disciple]: Jorrn Jorrnson
The she-bear beset by demons: Glory (a veteran actress from the days of the silent movies & very earliest talkies, making a comeback!)
Bassarross, the tax-collector: Urrsen Wells (the film’s Director)
An innkeeper at Sarum: Hrogh’hurr Grey
Barmaids/waitresses at the inn: Mirra, Morra, and Murra, o Southwoods (triplets!)
Second Guard-Captain: Bearren o Barrdenn
Third Guard-Captain: Tarrgo o WestWoods
Erranaon, a priest (and later Chief Priest): Borrin o Surra
Bonnius Byrrate, the Romaine governor: Mark Silvers (a human actor in a mask [with false ears attached] & heavy make-up)
First Centurion: Berric Regnion (ditto)
Second Centurion: Martin Uphill (ditto)
Gravediggers: Bell and Bin (two Brocks, i.e. anthropomorphic Badgers, who were a famous comedy double-act; some critics call their scenes [at both the burial and the rising of Artos] a ridiculous addition into what should be a serious story, but others say that they bring a necessary re-lightening of the mood after the intensity of the impalement scene…)
Barrnabhory, a lame beggar: Artorrios o Herrchaum

Production Details
Studio: Woods-GoldBear-Wylder
Date of original release: 1959
Language used: English
Running Time: three hours, with two evenly spaced intermission

Producer: Jamms Wylder
Director: Urrsen Wells (who also provided narration for some scenes, and even filled the role of Bassarross…)
Screenplay (adapted from ‘The Holy Beeble’, which is the main scriptures of Ursionity…) by: Arrolfh o GreenWoods, Lyrra Frakham’sden, and Overpriest Ursiosoffurr Stone.
Head of Cinematography: Marrchon o RedRose
Head of Special Effects: Arri Hrrayhouses
Head of Costuming: Erraya Highwood
Soundtrack composed by: Arrnon Goldencorn
Soundtrack arranged by: Arrnon Goldencorn and Tiggard Amburr
Soundtrack conducted by: Tiggard Amburr
Soundtrack performed by: the WGW Studio Orchestra

Extra Notes
I have seen the classic version of ‘Ben Hur’ — the one starring Charlton Heston — and that’s the general style that I envisage for this film in terms of camerawork [& the ‘widescreen’ nature of this], soundtrack, effort put into costume & set design, and so on.
I haven’t seen the RL film ‘The Greatest Story Ever Told’, but suspect that there might also be some slight similarities. ;)
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There are the obvious biblical references, there are the details that I explained in the sections above… and there are some other references, too: How many of those can you identify?

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An album of the soundtrack, performed by the WGW Studio Orchestra, topped the ‘best-selling album’ chart across Bears Armed continuously for almost five years starting very shortly after the film’s original release.
Last edited by Bears Armed on Wed Dec 12, 2018 2:05 pm, edited 2 times in total.
Reason: Needed to fix a couple of misspelled names & a typo.

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Re: The 2018 Film Festival: Entries

Post by Shuell » Mon Dec 10, 2018 10:11 pm


Best IDU Classic Film

Released on: December 7, 1986
Genre: War Film
Starring: Urmet Kotka
Directed by: Simon Ibrahimov
Languages: Shot in English, later dubbed in German (1988), Russian (1991), French (1994), and Estonian (1996).

Plot: The film cuts to a shot of a relatively small village, surrounded on all sides by jungle and swampland. The camera pans down to a thatch-roof house, where a group of soldiers are sitting around a radio, smoking. Behind them sits a flag of the former Democratic People's Republic of Shuell, alongside discarded equipment. Following a brief conversation between the soldiers, the radio squeals, and a man shouts over it. The soldiers scrabble for their gear, hurrying off into the muddy foliage in near single-file. Abruptly, one of the soldiers steps on a landmine, and explodes, covering the man closest to him in gore. The blood-covered man looks down, and a shot of the man's dog tags are shown, starting the credits.

The film is about an unknown DPRS soldier, nicknamed Gewehr, and his experiences throughout the Second Revolution, specifically on the Shuellian Colonial State of Iustos, where the conflict has spread to, starting with the trek through the Iustonian swamps, colloquially known as the "Rot March," and ending with the siege of a Republican-held city.

Critical Reception: Upon release, it was viewed as a depressing look at the Second Revolution of Shuell, a conflict that many older military veterans of Shuell have lived through. While realistic for the most part, the deeper parts of the Iustonian jungle are depicted as madness inducing, with strange creatures and odd sights. Although regarded as a classic, even holding a spot in the Shuellian Film Archive's Hall of Fame, some reviewers have criticized the "horrifyingly realistic" gore and many of the slurs used by the soldiers throughout the film.

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Re: The 2018 Film Festival: Entries

Post by Lauchenoiria » Mon Dec 10, 2018 11:29 pm

Category: Best IDU Classic Film

Sobre Una Estrella Fugaz (Upon A Falling Star)

Year: 1973
Genre: Science-fiction
Language: Spanish (with English subtitles)

Plot: Gabriel Arenas (Teódulo Araujo) and Pilar Palomo (Mireya Herrera), a teenage couple living in Annatown sneak out to meet at night, and while out spot what appears to be a star falling from the sky. They head over fields to where it appeared to land in the north-west, and discover not a star but a shining portal. They step through the portal and find themselves in the year 2023. They discover the world is run by robots, and humans have become enslaved in the never-ending race to pursue profit. Corporations have replaced government and have created two classes of humans – a slave race destined to work until death, and a wealthy upper class who help the robots keep the underclass subdued.

The pair have to escape back to their own time, facing dangers such as robot assassins and humans desperate to please their robotic masters by capturing fugitives in exchange for food. They discover the events that led to this ending were set in motion fifty years prior, in their own time, by greedy individuals who were secretly working to take down the communist government and install an extreme capitalist regime where they could profit. The couple manage to return to their own time, swearing to stop the future. In the closing shot, however, an unnamed man is shown on a telephone, chuckling evilly as he discusses his plans for profit.

Further Notes: Due to the time of its production, Sobre Una Estrella Fugaz is naturally supportive of the Communist regime of the time. It has strong anti-capitalist themes, which at the time were seen as a pertinent warning about the dangers of foreign corporations, but in hindsight many see as a blatant propaganda attempt by the then-state-run Butterfly Film Company.


Category: Best Actor

Name: June Peters
Age: 37

Peters is best known for playing Josephine Gardiner, a Liberal MP who was killed in the communist revolution, in The Economics of Love (winner of Best IDU Film in 2017). She has been acting since the age of 7, in which she played Lucy Lee, the daughter of the main characters in the popular sitcom A Swarm of Butterflies which followed a family living in rural Lauchenoiria and their escapades. Her performance in The Economics of Love was considered outstanding, and she has won many domestic awards for it.

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Re: The 2018 Film Festival: Entries

Post by Lauchenoiria » Tue Dec 11, 2018 12:38 pm

The 2018 Film Festival is now closed for new entries.

Voting will open at 12 noon UTC on the 12th December 2018 and will remain open for two weeks. A new thread will be created for voting. Please do not try to vote in this thread as your vote will not be counted.

Any entries posted after this time will not be accepted. Accepted entries are listed below. Entrants have 24 hours for any additional information they may wish to add to existing entries.

Best New IDU Film

'His Numbering Clock' by Conternia
'A Wall' by Libertas Omnium Maximus
'The Letter' by Gnejs
'Urrth'hro True, Night-Hunter: The Case of the Silver BereWolf' by Bears Armed

Best IDU Classic Film

'The Boarding-School' by Laeral
'Ludos Labyrinthos' by Libertas Omnium Maximus
'Artos of Nutwood' by Bears Armed
'Gewehr' by Shuell
'Sobre Una Estrella Fugaz' by Lauchenoiria

Best Actor in an IDU Film

George Benson from Libertas Omnium Maximus
Olivier Beauvais from Laeral
June Peters from Lauchenoiria

Best Documentary/Non-Fiction Film

'Cheese Curds: Inside the Toboran Cheese Industry' by Tobora
'What the Janitor Saw' by United New England
'What's In A Name?' by Laeral
'Life in Iffurrien' by Bears Armed

Best Foreign Film

No entries received.

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