Woody Allen's Midnight in Paris follows Gil, a screenwriter vacationing in Paris with his fiancée, Inez. While Inez does not share Gil's romantic view of the city, Gil discovers after midnight walks that he can be magically transported back in time to the Paris of the 1920s, interacting with iconic artists and writers of the Lost Generation like Hemingway, Fitzgerald, Dalí and Picasso. Gil finds this period more stimulating for his writing than his present, putting his relationship with Inez in jeopardy.
This film tells the story of Leo and Paige, a married couple, where after an accident Paige loses her memory and doesn't remember Leo. Her parents come to visit her in the hospital as she hasn't seen them since being with Leo. Leo tries to bring her home but she is confused and doesn't recognize anything. She goes to stay with her parents instead to try to remember her past. Leo works to win her back by courting her again. The film was directed by Michael Sucsy and stars Rachel McAdams and Channing Tatum. It was produced by Screen Gems and Spyglass Entertainment.
The film is about Leo and Paige, a married couple, where after an accident Paige loses her memory and doesn't remember Leo. Her parents come to visit her in the hospital as she hasn't seen them since being with Leo. Leo tries to bring her home but she is confused and doesn't recognize anything. She goes with her parents instead to try to remember her past. Leo then tries to win her back by courting her again. The film stars Rachel McAdams, Channing Tatum, and Jessica Lange and was directed by Michael Sucsy.
The film Bride Wars follows Jane and Liv, lifelong best friends who plan each other's weddings without realizing their wedding dates are scheduled for the same day at the same venue. When the venue refuses to reschedule either wedding, their friendship is put to the test as they each try to sabotage the other's big day. The film stars Kate Hudson, Anne Hathaway, Bryan Greenberg and Candice Bergen and was a commercial success.
The film Bride Wars follows Jane and Liv, lifelong best friends who plan each other's weddings without realizing their wedding dates are scheduled for the same day at the same venue. When the venue refuses to reschedule either wedding, their friendship is put to the test as they try to sabotage each other's big day. The film stars Kate Hudson, Anne Hathaway, Bryan Greenberg and Candice Bergen and was a commercial success.
After stealing a mysterious orb in space, Peter Quill forms a team called the Guardians of the Galaxy to protect the orb from the villain Ronan. The film had a budget of $170 million and grossed over $770 million worldwide after its release between July and October 2014. It was filmed over 3 months in 2013.
The document provides release information for four movies: Taken 2 from 2012 with Liam Neeson, The Dark Knight Rises from 2012 with Christian Bale, The Expendables 2 from 2012 with Sylvester Stallone, and Inception from 2010 with Leonardo DiCaprio. It includes details on the director, writers, main actors, production companies, budgets, opening weekends and worldwide box office grosses for each film.
The document provides release information for four movies: Taken 2 from 2012 with Liam Neeson, The Dark Knight Rises from 2012 with Christian Bale, The Expendables 2 from 2012 with Sylvester Stallone, and Inception from 2010 with Leonardo DiCaprio. It includes details on the director, writers, main actors, production companies, budgets, opening weekends and worldwide box office grosses for each film.
The document provides release information for four movies: Taken 2 from 2012 with Liam Neeson, The Dark Knight Rises from 2012 with Christian Bale, The Expendables 2 from 2012 with Sylvester Stallone, and Inception from 2010 with Leonardo DiCaprio. It includes details on the director, writers, main actors, production companies, budgets, opening weekends and worldwide box office grosses for each film.
This film tells the story of Leo and Paige, a married couple, where after an accident Paige loses her memory and doesn't remember Leo. Her parents come to visit her in the hospital as she hasn't seen them since being with Leo. Leo tries to bring her home but she is confused and doesn't recognize anything. She goes to stay with her parents instead to try to remember her past. Leo works to win her back by courting her again. The film was directed by Michael Sucsy and stars Rachel McAdams and Channing Tatum. It was produced by Screen Gems and Spyglass Entertainment.
The film is about Leo and Paige, a married couple, where after an accident Paige loses her memory and doesn't remember Leo. Her parents come to visit her in the hospital as she hasn't seen them since being with Leo. Leo tries to bring her home but she is confused and doesn't recognize anything. She goes with her parents instead to try to remember her past. Leo then tries to win her back by courting her again. The film stars Rachel McAdams, Channing Tatum, and Jessica Lange and was directed by Michael Sucsy.
The film Bride Wars follows Jane and Liv, lifelong best friends who plan each other's weddings without realizing their wedding dates are scheduled for the same day at the same venue. When the venue refuses to reschedule either wedding, their friendship is put to the test as they each try to sabotage the other's big day. The film stars Kate Hudson, Anne Hathaway, Bryan Greenberg and Candice Bergen and was a commercial success.
The film Bride Wars follows Jane and Liv, lifelong best friends who plan each other's weddings without realizing their wedding dates are scheduled for the same day at the same venue. When the venue refuses to reschedule either wedding, their friendship is put to the test as they try to sabotage each other's big day. The film stars Kate Hudson, Anne Hathaway, Bryan Greenberg and Candice Bergen and was a commercial success.
After stealing a mysterious orb in space, Peter Quill forms a team called the Guardians of the Galaxy to protect the orb from the villain Ronan. The film had a budget of $170 million and grossed over $770 million worldwide after its release between July and October 2014. It was filmed over 3 months in 2013.
The document provides release information for four movies: Taken 2 from 2012 with Liam Neeson, The Dark Knight Rises from 2012 with Christian Bale, The Expendables 2 from 2012 with Sylvester Stallone, and Inception from 2010 with Leonardo DiCaprio. It includes details on the director, writers, main actors, production companies, budgets, opening weekends and worldwide box office grosses for each film.
The document provides release information for four movies: Taken 2 from 2012 with Liam Neeson, The Dark Knight Rises from 2012 with Christian Bale, The Expendables 2 from 2012 with Sylvester Stallone, and Inception from 2010 with Leonardo DiCaprio. It includes details on the director, writers, main actors, production companies, budgets, opening weekends and worldwide box office grosses for each film.
The document provides release information for four movies: Taken 2 from 2012 with Liam Neeson, The Dark Knight Rises from 2012 with Christian Bale, The Expendables 2 from 2012 with Sylvester Stallone, and Inception from 2010 with Leonardo DiCaprio. It includes details on the director, writers, main actors, production companies, budgets, opening weekends and worldwide box office grosses for each film.
The document discusses the various media technologies used at different stages of the author's media project, which included creating a music video, magazine ad, and digipak. The author used technologies like Total Video Converter, Blogger, a PTCL EVO USB, keyboards, mobile phones, an HP computer, Adobe software, Corel Draw, Windows Movie Maker, an HP laptop, Microsoft PowerPoint, Windows Media Player, YouTube, MixPad, Microsoft Word, Google, Mozilla Firefox, Dailymotion, Vimeo, ProShow Producer, Windows Photo Viewer, and professional cameras. These technologies helped with tasks like video editing, data collection, internet access, audio/video production, presentation creation, and viewing/
The document discusses the feedback the creator received from an audience throughout the process of creating a music video and related tasks. They conducted interviews early on to determine the genre of song, with most favoring a romantic genre. Feedback helped determine the story, lyrics, and tune of the song. Test screenings of early cuts of the video identified issues with acting and pacing. Additional feedback improved the video editing and effects. The final digipak and magazine ad designs also received positive feedback, confirming the success of the projects due to incorporating audience perspectives at each stage.
The document discusses how the creator effectively combined their main music video product with two ancillary texts: a magazine advertisement and digipak. For the magazine ad, the creator used similar colors to the video and featured the singer holding a guitar. In the digipak, the outside uses darker colors from the video while the inside uses lighter shades, and screenshots from the video provide context for the lyrics. Overall, the creator aimed to tie the products together through shared visual elements and clues to promote interest in exploring the music video further.
The document discusses how the media producer's music video both uses and challenges conventions of real pop music videos. It uses conventions such as portraying the artist, having lyrics and visuals relate to the music, filming in happy locations, targeting teenagers, and having catchy lyrics in a verse-chorus structure. However, it also challenges conventions by having simpler costumes to feel more realistic, not including sexuality which goes against the culture, and using some effects in editing not typically seen in romantic pop videos. The producer aimed to both capture realism while still exciting the teenage audience.
The document discusses how the media producer's music video does and does not follow conventions of real pop music videos. It uses conventions like portraying the artist, having lyrics and visuals relate, filming in happy locations, targeting teenagers, and having catchy lyrics and upbeat tempo. However, it challenges conventions by having simpler outfits to seem more realistic, not including sexuality, and using some effects in editing not usually seen in romantic pop videos. Overall, it aims to balance conventions with original elements to tell a real story.
Suzanne Naeem is a 19-year-old actress who studies computer science at Forman Christian College. She believes she is talented and can prove herself in videos. Suzanne enjoys romantic music videos, listens to soft and seducing rock music, and thinks the song's lyrics and music were lovely and made for a special person. She provides casual feedback on how the video maker can continue improving.
Suzanne Naeem is a 19-year-old actress who studies computer science at Forman Christian College. She believes she is talented and can prove herself in videos. Suzanne enjoys romantic music videos, listens to soft and seducing rock music, and thinks the song's lyrics and music were lovely and made for a special person. She provides feedback that the video director is doing great but can still improve.
Suzanne Naeem is a 19-year-old actress who studies computer science at Forman Christian College. She believes she is talented and can prove herself in videos. Suzanne enjoys romantic music videos, listens to soft and seducing rock music, and thinks the song's lyrics and music were lovely and made for a special person. She provides casual feedback on how the video maker can continue improving.
Anwais Arif is a 22-year-old actor who believes he is qualified to act in a video. He has been acting in plays and mimes for a long time and considers himself a great actor. He studies economics and business subjects at the National College of Business Administration. After listening to a song, he thought the music and lyrics were awesome but suggested the filmmaker take help from experts to continue improving future videos.
Pop music utilizes certain codes and conventions to appeal to its target teenage audience. It typically has danceable beats, lyrics about partying and enjoyment, and sexually suggestive imagery. Pop songs have a verse-chorus structure, are 3-5 minutes long, and follow current trends. Videos portray the artist's life as happy through fashionable outfits, expensive settings like beaches and boats, and fast-paced camera work to keep the visuals upbeat and exciting. Hairstyles, makeup, and clothing in videos are beautiful, bright, trendy looks intended to represent an ideal lifestyle.
The document discusses 5 music TV channels: MTV, 4music, ARY Musik, 8XM, and B4U Music. It provides details on their origins, ownership, programming, and target audiences. MTV was one of the first and most popular music video channels. 4Music plays both music videos and entertainment content. ARY Musik and 8XM are Pakistan-based channels that play Pakistani, Indian, and international songs. B4U Music broadcasts Bollywood, Indian pop, and international music worldwide.
Research on dvd covers of music videosRohamaWaseem
Most music video DVD covers contain the following elements: the name and picture of the singer on the front, spine, and back; the album name; a barcode on the back; a song list; and logos for the DVD, ratings, and production studios. The front cover focuses on attracting the viewer with the singer's picture and name, while the back provides more text describing the music video and listing songs. The spine prominently displays the singer and album for easy identification on store shelves.
This document profiles 5 famous music directors and their genres. "Weird Al" Yankovic directs parody, comedy and polka music videos. Alicia Keys focuses on R&B, pop and soul genres in her music video direction. Anton Corbijn's music videos are romantic genres. Brett Ratner's music video genres are mainly action and thriller. Britney Spears' music video direction focuses on pop, dance pop and electro pop genres.
Music videos have evolved from early promotional films set to music in the 1930s-1950s. Early forms included illustrated songs in the 1890s, Soundies musical films of the 1940s, and musical shorts that filled time between films. In the 1960s, Scopitones and early music videos known as "lip dubs" emerged. Video Concert Hall in 1979 was one of the first TV networks to feature music videos. Finally, MTV launched in 1981 and became the first channel dedicated solely to music videos, popularizing the format.
These magazine ads promote upcoming music album releases from various singers by including the singer's name, a picture, and key details about the album such as release date and theme song. The ads aim to generate interest in the new albums by highlighting the singer and selected songs or themes.
The document discusses signed contracts. It likely contains information about contracts that have been signed, such as details of the agreements, parties involved, dates, and terms. The main topic covered is binding legal agreements that have been formally accepted by both parties through signatures.
This document expresses an actor's interest in playing a role in a music video. The actor agrees to make themselves available whenever needed during production and will do their best. Their participation is subject to availability and agreeing to future terms of employment with the producer.
This 1 sentence document does not provide enough context or information to generate a meaningful 3 sentence summary. The document contains no text other than the title "Different Fonts For Planning".
A short article discusses three topics: cute expressions of love, a story titled "Luckiest Girl", and an event described as "A Proper Match From Above!".
Goodbye Windows 11: Make Way for Nitrux Linux 3.5.0!SOFTTECHHUB
As the digital landscape continually evolves, operating systems play a critical role in shaping user experiences and productivity. The launch of Nitrux Linux 3.5.0 marks a significant milestone, offering a robust alternative to traditional systems such as Windows 11. This article delves into the essence of Nitrux Linux 3.5.0, exploring its unique features, advantages, and how it stands as a compelling choice for both casual users and tech enthusiasts.
Observability Concepts EVERY Developer Should Know -- DeveloperWeek Europe.pdfPaige Cruz
Monitoring and observability aren’t traditionally found in software curriculums and many of us cobble this knowledge together from whatever vendor or ecosystem we were first introduced to and whatever is a part of your current company’s observability stack.
While the dev and ops silo continues to crumble….many organizations still relegate monitoring & observability as the purview of ops, infra and SRE teams. This is a mistake - achieving a highly observable system requires collaboration up and down the stack.
I, a former op, would like to extend an invitation to all application developers to join the observability party will share these foundational concepts to build on:
The document discusses the various media technologies used at different stages of the author's media project, which included creating a music video, magazine ad, and digipak. The author used technologies like Total Video Converter, Blogger, a PTCL EVO USB, keyboards, mobile phones, an HP computer, Adobe software, Corel Draw, Windows Movie Maker, an HP laptop, Microsoft PowerPoint, Windows Media Player, YouTube, MixPad, Microsoft Word, Google, Mozilla Firefox, Dailymotion, Vimeo, ProShow Producer, Windows Photo Viewer, and professional cameras. These technologies helped with tasks like video editing, data collection, internet access, audio/video production, presentation creation, and viewing/
The document discusses the feedback the creator received from an audience throughout the process of creating a music video and related tasks. They conducted interviews early on to determine the genre of song, with most favoring a romantic genre. Feedback helped determine the story, lyrics, and tune of the song. Test screenings of early cuts of the video identified issues with acting and pacing. Additional feedback improved the video editing and effects. The final digipak and magazine ad designs also received positive feedback, confirming the success of the projects due to incorporating audience perspectives at each stage.
The document discusses how the creator effectively combined their main music video product with two ancillary texts: a magazine advertisement and digipak. For the magazine ad, the creator used similar colors to the video and featured the singer holding a guitar. In the digipak, the outside uses darker colors from the video while the inside uses lighter shades, and screenshots from the video provide context for the lyrics. Overall, the creator aimed to tie the products together through shared visual elements and clues to promote interest in exploring the music video further.
The document discusses how the media producer's music video both uses and challenges conventions of real pop music videos. It uses conventions such as portraying the artist, having lyrics and visuals relate to the music, filming in happy locations, targeting teenagers, and having catchy lyrics in a verse-chorus structure. However, it also challenges conventions by having simpler costumes to feel more realistic, not including sexuality which goes against the culture, and using some effects in editing not typically seen in romantic pop videos. The producer aimed to both capture realism while still exciting the teenage audience.
The document discusses how the media producer's music video does and does not follow conventions of real pop music videos. It uses conventions like portraying the artist, having lyrics and visuals relate, filming in happy locations, targeting teenagers, and having catchy lyrics and upbeat tempo. However, it challenges conventions by having simpler outfits to seem more realistic, not including sexuality, and using some effects in editing not usually seen in romantic pop videos. Overall, it aims to balance conventions with original elements to tell a real story.
Suzanne Naeem is a 19-year-old actress who studies computer science at Forman Christian College. She believes she is talented and can prove herself in videos. Suzanne enjoys romantic music videos, listens to soft and seducing rock music, and thinks the song's lyrics and music were lovely and made for a special person. She provides casual feedback on how the video maker can continue improving.
Suzanne Naeem is a 19-year-old actress who studies computer science at Forman Christian College. She believes she is talented and can prove herself in videos. Suzanne enjoys romantic music videos, listens to soft and seducing rock music, and thinks the song's lyrics and music were lovely and made for a special person. She provides feedback that the video director is doing great but can still improve.
Suzanne Naeem is a 19-year-old actress who studies computer science at Forman Christian College. She believes she is talented and can prove herself in videos. Suzanne enjoys romantic music videos, listens to soft and seducing rock music, and thinks the song's lyrics and music were lovely and made for a special person. She provides casual feedback on how the video maker can continue improving.
Anwais Arif is a 22-year-old actor who believes he is qualified to act in a video. He has been acting in plays and mimes for a long time and considers himself a great actor. He studies economics and business subjects at the National College of Business Administration. After listening to a song, he thought the music and lyrics were awesome but suggested the filmmaker take help from experts to continue improving future videos.
Pop music utilizes certain codes and conventions to appeal to its target teenage audience. It typically has danceable beats, lyrics about partying and enjoyment, and sexually suggestive imagery. Pop songs have a verse-chorus structure, are 3-5 minutes long, and follow current trends. Videos portray the artist's life as happy through fashionable outfits, expensive settings like beaches and boats, and fast-paced camera work to keep the visuals upbeat and exciting. Hairstyles, makeup, and clothing in videos are beautiful, bright, trendy looks intended to represent an ideal lifestyle.
The document discusses 5 music TV channels: MTV, 4music, ARY Musik, 8XM, and B4U Music. It provides details on their origins, ownership, programming, and target audiences. MTV was one of the first and most popular music video channels. 4Music plays both music videos and entertainment content. ARY Musik and 8XM are Pakistan-based channels that play Pakistani, Indian, and international songs. B4U Music broadcasts Bollywood, Indian pop, and international music worldwide.
Research on dvd covers of music videosRohamaWaseem
Most music video DVD covers contain the following elements: the name and picture of the singer on the front, spine, and back; the album name; a barcode on the back; a song list; and logos for the DVD, ratings, and production studios. The front cover focuses on attracting the viewer with the singer's picture and name, while the back provides more text describing the music video and listing songs. The spine prominently displays the singer and album for easy identification on store shelves.
This document profiles 5 famous music directors and their genres. "Weird Al" Yankovic directs parody, comedy and polka music videos. Alicia Keys focuses on R&B, pop and soul genres in her music video direction. Anton Corbijn's music videos are romantic genres. Brett Ratner's music video genres are mainly action and thriller. Britney Spears' music video direction focuses on pop, dance pop and electro pop genres.
Music videos have evolved from early promotional films set to music in the 1930s-1950s. Early forms included illustrated songs in the 1890s, Soundies musical films of the 1940s, and musical shorts that filled time between films. In the 1960s, Scopitones and early music videos known as "lip dubs" emerged. Video Concert Hall in 1979 was one of the first TV networks to feature music videos. Finally, MTV launched in 1981 and became the first channel dedicated solely to music videos, popularizing the format.
These magazine ads promote upcoming music album releases from various singers by including the singer's name, a picture, and key details about the album such as release date and theme song. The ads aim to generate interest in the new albums by highlighting the singer and selected songs or themes.
The document discusses signed contracts. It likely contains information about contracts that have been signed, such as details of the agreements, parties involved, dates, and terms. The main topic covered is binding legal agreements that have been formally accepted by both parties through signatures.
This document expresses an actor's interest in playing a role in a music video. The actor agrees to make themselves available whenever needed during production and will do their best. Their participation is subject to availability and agreeing to future terms of employment with the producer.
This 1 sentence document does not provide enough context or information to generate a meaningful 3 sentence summary. The document contains no text other than the title "Different Fonts For Planning".
A short article discusses three topics: cute expressions of love, a story titled "Luckiest Girl", and an event described as "A Proper Match From Above!".
Goodbye Windows 11: Make Way for Nitrux Linux 3.5.0!SOFTTECHHUB
As the digital landscape continually evolves, operating systems play a critical role in shaping user experiences and productivity. The launch of Nitrux Linux 3.5.0 marks a significant milestone, offering a robust alternative to traditional systems such as Windows 11. This article delves into the essence of Nitrux Linux 3.5.0, exploring its unique features, advantages, and how it stands as a compelling choice for both casual users and tech enthusiasts.
Observability Concepts EVERY Developer Should Know -- DeveloperWeek Europe.pdfPaige Cruz
Monitoring and observability aren’t traditionally found in software curriculums and many of us cobble this knowledge together from whatever vendor or ecosystem we were first introduced to and whatever is a part of your current company’s observability stack.
While the dev and ops silo continues to crumble….many organizations still relegate monitoring & observability as the purview of ops, infra and SRE teams. This is a mistake - achieving a highly observable system requires collaboration up and down the stack.
I, a former op, would like to extend an invitation to all application developers to join the observability party will share these foundational concepts to build on:
How to Get CNIC Information System with Paksim Ga.pptxdanishmna97
Pakdata Cf is a groundbreaking system designed to streamline and facilitate access to CNIC information. This innovative platform leverages advanced technology to provide users with efficient and secure access to their CNIC details.
Cosa hanno in comune un mattoncino Lego e la backdoor XZ?Speck&Tech
ABSTRACT: A prima vista, un mattoncino Lego e la backdoor XZ potrebbero avere in comune il fatto di essere entrambi blocchi di costruzione, o dipendenze di progetti creativi e software. La realtà è che un mattoncino Lego e il caso della backdoor XZ hanno molto di più di tutto ciò in comune.
Partecipate alla presentazione per immergervi in una storia di interoperabilità, standard e formati aperti, per poi discutere del ruolo importante che i contributori hanno in una comunità open source sostenibile.
BIO: Sostenitrice del software libero e dei formati standard e aperti. È stata un membro attivo dei progetti Fedora e openSUSE e ha co-fondato l'Associazione LibreItalia dove è stata coinvolta in diversi eventi, migrazioni e formazione relativi a LibreOffice. In precedenza ha lavorato a migrazioni e corsi di formazione su LibreOffice per diverse amministrazioni pubbliche e privati. Da gennaio 2020 lavora in SUSE come Software Release Engineer per Uyuni e SUSE Manager e quando non segue la sua passione per i computer e per Geeko coltiva la sua curiosità per l'astronomia (da cui deriva il suo nickname deneb_alpha).
Removing Uninteresting Bytes in Software FuzzingAftab Hussain
Imagine a world where software fuzzing, the process of mutating bytes in test seeds to uncover hidden and erroneous program behaviors, becomes faster and more effective. A lot depends on the initial seeds, which can significantly dictate the trajectory of a fuzzing campaign, particularly in terms of how long it takes to uncover interesting behaviour in your code. We introduce DIAR, a technique designed to speedup fuzzing campaigns by pinpointing and eliminating those uninteresting bytes in the seeds. Picture this: instead of wasting valuable resources on meaningless mutations in large, bloated seeds, DIAR removes the unnecessary bytes, streamlining the entire process.
In this work, we equipped AFL, a popular fuzzer, with DIAR and examined two critical Linux libraries -- Libxml's xmllint, a tool for parsing xml documents, and Binutil's readelf, an essential debugging and security analysis command-line tool used to display detailed information about ELF (Executable and Linkable Format). Our preliminary results show that AFL+DIAR does not only discover new paths more quickly but also achieves higher coverage overall. This work thus showcases how starting with lean and optimized seeds can lead to faster, more comprehensive fuzzing campaigns -- and DIAR helps you find such seeds.
- These are slides of the talk given at IEEE International Conference on Software Testing Verification and Validation Workshop, ICSTW 2022.
A tale of scale & speed: How the US Navy is enabling software delivery from l...sonjaschweigert1
Rapid and secure feature delivery is a goal across every application team and every branch of the DoD. The Navy’s DevSecOps platform, Party Barge, has achieved:
- Reduction in onboarding time from 5 weeks to 1 day
- Improved developer experience and productivity through actionable findings and reduction of false positives
- Maintenance of superior security standards and inherent policy enforcement with Authorization to Operate (ATO)
Development teams can ship efficiently and ensure applications are cyber ready for Navy Authorizing Officials (AOs). In this webinar, Sigma Defense and Anchore will give attendees a look behind the scenes and demo secure pipeline automation and security artifacts that speed up application ATO and time to production.
We will cover:
- How to remove silos in DevSecOps
- How to build efficient development pipeline roles and component templates
- How to deliver security artifacts that matter for ATO’s (SBOMs, vulnerability reports, and policy evidence)
- How to streamline operations with automated policy checks on container images
UiPath Test Automation using UiPath Test Suite series, part 5DianaGray10
Welcome to UiPath Test Automation using UiPath Test Suite series part 5. In this session, we will cover CI/CD with devops.
Topics covered:
CI/CD with in UiPath
End-to-end overview of CI/CD pipeline with Azure devops
Speaker:
Lyndsey Byblow, Test Suite Sales Engineer @ UiPath, Inc.
GraphSummit Singapore | The Future of Agility: Supercharging Digital Transfor...Neo4j
Leonard Jayamohan, Partner & Generative AI Lead, Deloitte
This keynote will reveal how Deloitte leverages Neo4j’s graph power for groundbreaking digital twin solutions, achieving a staggering 100x performance boost. Discover the essential role knowledge graphs play in successful generative AI implementations. Plus, get an exclusive look at an innovative Neo4j + Generative AI solution Deloitte is developing in-house.
Sudheer Mechineni, Head of Application Frameworks, Standard Chartered Bank
Discover how Standard Chartered Bank harnessed the power of Neo4j to transform complex data access challenges into a dynamic, scalable graph database solution. This keynote will cover their journey from initial adoption to deploying a fully automated, enterprise-grade causal cluster, highlighting key strategies for modelling organisational changes and ensuring robust disaster recovery. Learn how these innovations have not only enhanced Standard Chartered Bank’s data infrastructure but also positioned them as pioneers in the banking sector’s adoption of graph technology.
Essentials of Automations: The Art of Triggers and Actions in FMESafe Software
In this second installment of our Essentials of Automations webinar series, we’ll explore the landscape of triggers and actions, guiding you through the nuances of authoring and adapting workspaces for seamless automations. Gain an understanding of the full spectrum of triggers and actions available in FME, empowering you to enhance your workspaces for efficient automation.
We’ll kick things off by showcasing the most commonly used event-based triggers, introducing you to various automation workflows like manual triggers, schedules, directory watchers, and more. Plus, see how these elements play out in real scenarios.
Whether you’re tweaking your current setup or building from the ground up, this session will arm you with the tools and insights needed to transform your FME usage into a powerhouse of productivity. Join us to discover effective strategies that simplify complex processes, enhancing your productivity and transforming your data management practices with FME. Let’s turn complexity into clarity and make your workspaces work wonders!
Introducing Milvus Lite: Easy-to-Install, Easy-to-Use vector database for you...Zilliz
Join us to introduce Milvus Lite, a vector database that can run on notebooks and laptops, share the same API with Milvus, and integrate with every popular GenAI framework. This webinar is perfect for developers seeking easy-to-use, well-integrated vector databases for their GenAI apps.
“An Outlook of the Ongoing and Future Relationship between Blockchain Technologies and Process-aware Information Systems.” Invited talk at the joint workshop on Blockchain for Information Systems (BC4IS) and Blockchain for Trusted Data Sharing (B4TDS), co-located with with the 36th International Conference on Advanced Information Systems Engineering (CAiSE), 3 June 2024, Limassol, Cyprus.
TrustArc Webinar - 2024 Global Privacy SurveyTrustArc
How does your privacy program stack up against your peers? What challenges are privacy teams tackling and prioritizing in 2024?
In the fifth annual Global Privacy Benchmarks Survey, we asked over 1,800 global privacy professionals and business executives to share their perspectives on the current state of privacy inside and outside of their organizations. This year’s report focused on emerging areas of importance for privacy and compliance professionals, including considerations and implications of Artificial Intelligence (AI) technologies, building brand trust, and different approaches for achieving higher privacy competence scores.
See how organizational priorities and strategic approaches to data security and privacy are evolving around the globe.
This webinar will review:
- The top 10 privacy insights from the fifth annual Global Privacy Benchmarks Survey
- The top challenges for privacy leaders, practitioners, and organizations in 2024
- Key themes to consider in developing and maintaining your privacy program
Maruthi Prithivirajan, Head of ASEAN & IN Solution Architecture, Neo4j
Get an inside look at the latest Neo4j innovations that enable relationship-driven intelligence at scale. Learn more about the newest cloud integrations and product enhancements that make Neo4j an essential choice for developers building apps with interconnected data and generative AI.
Threats to mobile devices are more prevalent and increasing in scope and complexity. Users of mobile devices desire to take full advantage of the features
available on those devices, but many of the features provide convenience and capability but sacrifice security. This best practices guide outlines steps the users can take to better protect personal devices and information.
Communications Mining Series - Zero to Hero - Session 1DianaGray10
This session provides introduction to UiPath Communication Mining, importance and platform overview. You will acquire a good understand of the phases in Communication Mining as we go over the platform with you. Topics covered:
• Communication Mining Overview
• Why is it important?
• How can it help today’s business and the benefits
• Phases in Communication Mining
• Demo on Platform overview
• Q/A
1. Cast:
Directed and Written by Woody Allen
Actors:
Owen Wilson as Gil
Rachel McAdams as Inez
Kurt Fuller as John
Mimi Kennedy as Helen
Michael Sheen as Paul
Nina Arianda as Carol
Marion Cotillard as Adriana
Léa Seydoux as Gabrielle
Emmanuelle Uzan as Djuna Barnes
Adrien Brody as Salvador Dalí
Tom Cordier as Man Ray
Adrien de Van as Luis Buñuel
Serge Bagdassarian as Détective Duluc
Gad Elmaleh as Détective Tisserant
David Lowe as T.S. Eliot
Yves-Antoine Spoto as Henri Matisses
Produced by:
Letty Aronson, Jaume Roures and Stephen Tenenbaum are the producers.
Raphaël Benoliel and Helen Robin are co-producers.
Javier Méndezis executive producer and Jack Rollins is co-executive producer.
2. Cinematography by Darius Khondji.
Film Editing by Alisa Lepselter.
Casting by Stéphane Foenkinos, Patricia Kerrigan DiCerto and Juliet Taylor.
Production Design by Anne Seibel.
Art Direction by Jean-Yves Rabier.
Set Decoration by Hélène Dubreuil.
Costume Design by Sonia Grande.
Special Effects by:
Georges Demétrau as special effects supervisor
Pascal Fauvelle as special effects technician
Jérome Miel as special effects technician
Charles-Axel Vollard as special effects technician
Visual Effects by:
Ryan Duffy as scanning: deluxe New York
Markus Janner as digital scanning and recording
Marika D. Litz as digital restoration artist (as Marika Litz)
Chris MacKenzie as digital opticals
Camera and Electrical Department:
Julien Andreetti as clapper loader
Roger Arpajou as still photographer
Sidney Baucheron as electrician
Thierry Baucheron as gaffer
Johanne Debas as second unit director of photography
3. Xavier Dolléans as balloon light technician
Jean-Christophe Duwez as best boy electric
Garance Garnier as camera trainee
Stéphane Germain as grip: second unit
Thibaut Guenois as grip
Arnaud Imbert as grip
Cyril Kuhnholtz as key grip
Summary:
Gil and Inez travel to Paris as a tag-along vacation on her parents' business trip. Gil is a
successful Hollywood writer but is struggling on his first novel. He falls in love with the city and
thinks they should move there after they get married, but Inez does not share his romantic
notions of the city or the idea that the 1920s was the golden age. When Inez goes off dancing
with her friends, Gil takes a walk at midnight and discovers what could be the ultimate source
of inspiration for writing. Gil's daily walks at midnight in Paris could take him closer to the heart
of the city but further from the woman he's about to marry.
Release Dates:
France 11 May 2011 (Cannes Film Festival)
Spain 13 May 2011
USA 20 May 2011 (limited)
Canada 3 June 2011 (limited)
USA 10 June 2011
Belgium 15 June 2011
Brazil 17 June 2011
Norway 17 June 2011
Israel 23 June 2011
4. Argentina 30 June 2011
Czech Republic 9 July 2011 (Karlovy Vary Film Festival)
Uruguay 15 July 2011
Colombia 29 July 2011
Mexico 5 August 2011
Denmark 11 August 2011
Germany 18 August 2011
Iceland 19 August 2011
Netherlands 24 August 2011 (Noorderzon Festival Groningen)
Chile 25 August 2011
Peru 25 August 2011
Finland 26 August 2011
Poland 26 August 2011
Estonia 2 September 2011
Romania 2 September 2011
Sweden 2 September 2011
Hong Kong 8 September 2011
Lithuania 9 September 2011
Netherlands 9 September 2011 (Film by the Sea Film Festival)
Netherlands 15 September 2011
Portugal 15 September 2011
Turkey 30 September 2011
Russia 5 October 2011 (Amfest 11 American Film Festival)
Greece 6 October 2011
5. Kazakhstan 6 October 2011
Russia 6 October 2011
Ireland 7 October 2011
UK 7 October 2011
Singapore 13 October 2011
Hungary 10 November 2011
Bulgaria 11 November 2011
Italy 27 November 2011 (Turin Film Festival)
Italy 2 December 2011
Venezuela 9 December 2011
Malta 21 December 2011
Thailand 22 December 2011 (limited)
Iceland 2 January 2012 (re-release)
Hong Kong 24 February 2012 (re-release)
Kuwait 24 May 2012
Japan 26 May 2012
Production Companies:
Gravier Productions
Mediapro
Pontchartrain Productions
Televisió de Catalunya (TV3)
Versátil Cinema
6. Distributors:
Mars Distribution (2011) (France) (theatrical)
Alta Films (2011) (Spain) (theatrical)
Sony Pictures Classics (2011) (USA) (theatrical)
Acme Film (2011) (Lithuania) (theatrical)
Cathay-Keris Films (2011) (Singapore) (theatrical)
Diamond Films (2011) (Argentina) (theatrical)
Longride (2012) (Japan) (theatrical)
Medusa Film (2011) (Italy) (theatrical)
Mongrel Media (2011) (Canada) (theatrical)
Paradiso Entertainment (2011) (Netherlands) (theatrical)
Paradiso (2011) (Belgium) (theatrical)
Village Films (2011) (Greece) (theatrical)
Argentina Video Home (2012) (Argentina) (DVD)
Argentina Video Home (2012) (Argentina) (DVD) (Blu-ray)
Argentina Video Home (2012) (Argentina) (DVD) (as part of the pack 'Colección Woody Allen')
Concorde Home Entertainment (2012) (Germany) (DVD)
Film1 (2012) (Netherlands) (TV) (limited)
Golden Scene (2011) (Hong Kong) (DVD)
Golden Scene (2011) (Hong Kong) (DVD) (Blu-ray)
Mongrel Media (2012) (Canada) (DVD)
Paradiso Home Entertainment (2011) (Belgium) (DVD)
Paradiso Home Entertainment (2012) (Netherlands) (DVD)
Paradiso Home Entertainment (2012) (Netherlands) (DVD) (Blu-ray)
7. Prorom Media-Trade (2011) (Romania) (all media)
Shapira Films (2011) (Israel) (all media)
Sony Pictures Home Entertainment (2011) (USA) (DVD)
Sony Pictures Home Entertainment (2011) (USA) (DVD) (Blu-ray)
Zon Lusomundo Audiovisuais (2011) (Portugal) (all media)
Box Office/ Business:
Budget
$17,000,000 (estimated)
Opening Weekend
$599,003 (USA) (22 May 2011) (6 Screens)
ARS 1,959,379 (Argentina) (5 July 2011) (50 Screens)
€2,972,136 (France) (15 May 2011) (406 Screens)
€2,203,672 (Italy) (4 December 2011) (420 Screens)
€1,048,445 (Spain) (15 May 2011) (257 Screens)
Gross
$56,816,662 (USA) (18 March 2012)
$56,809,853 (USA) (11 March 2012)
$56,802,123 (USA) (4 March 2012)
$56,720,579 (USA) (26 February 2012)
$56,556,231 (USA) (19 February 2012)
$56,534,737 (USA) (12 February 2012)
$56,506,142 (USA) (5 February 2012)
$56,473,065 (USA) (29 January 2012)
8. $56,446,217 (USA) (22 January 2012)
$56,428,526 (USA) (15 January 2012)
$56,407,283 (USA) (8 January 2012)
$56,384,627 (USA) (1 January 2012)
$56,293,474 (USA) (18 December 2011)
$56,177,987 (USA) (11 December 2011)
$55,944,592 (USA) (4 December 2011)
$55,600,128 (USA) (20 November 2011)
$55,550,618 (USA) (13 November 2011)
$55,478,969 (USA) (6 November 2011)
$55,378,524 (USA) (30 October 2011)
$55,275,621 (USA) (23 October 2011)
$55,107,082 (USA) (16 October 2011)
$54,905,643 (USA) (9 October 2011)
$54,697,329 (USA) (2 October 2011)
$54,432,211 (USA) (25 September 2011)
$54,060,597 (USA) (18 September 2011)
$53,531,714 (USA) (11 September 2011)
$52,932,739 (USA) (4 September 2011)
$51,643,081 (USA) (28 August 2011)
$50,614,946 (USA) (21 August 2011)
$49,664,598 (USA) (14 August 2011)
$48,486,541 (USA) (7 August 2011)
$46,851,966 (USA) (31 July 2011)
9. $44,783,206 (USA) (24 July 2011)
$41,778,698 (USA) (17 July 2011)
$38,579,052 (USA) (10 July 2011)
$33,637,833 (USA) (3 July 2011)
$28,270,637 (USA) (26 June 2011)
$13,909,196 (USA) (12 June 2011)
$6,796,731 (USA) (5 June 2011)
$3,519,655 (USA) (29 May 2011)
$599,003 (USA) (22 May 2011)
ARS 16,375,502 (Argentina) (15 November 2011)
ARS 16,374,992 (Argentina) (8 November 2011)
ARS 16,373,439 (Argentina) (1 November 2011)
ARS 16,370,350 (Argentina) (25 October 2011)
ARS 16,261,775 (Argentina) (18 October 2011)
ARS 16,367,683 (Argentina) (11 October 2011)
ARS 16,165,042 (Argentina) (4 October 2011)
ARS 15,963,118 (Argentina) (27 September 2011)
ARS 15,826,991 (Argentina) (20 September 2011)
ARS 15,676,730 (Argentina) (13 September 2011)
ARS 15,373,414 (Argentina) (6 September 2011)
ARS 15,212,061 (Argentina) (30 August 2011)
ARS 14,602,224 (Argentina) (23 August 2011)
ARS 13,410,198 (Argentina) (16 August 2011)
ARS 12,266,172 (Argentina) (9 August 2011)
10. ARS 10,922,613 (Argentina) (2 August 2011)
ARS 9,032,101 (Argentina) (26 July 2011)
ARS 6,848,900 (Argentina) (19 July 2011)
ARS 4,637,912 (Argentina) (12 July 2011)
ARS 1,959,379 (Argentina) (5 July 2011)
€8,421,281 (France) (8 January 2012)
€5,442,626 (France) (22 May 2011)
€2,972,136 (France) (15 May 2011)
€8,918,726 (Italy) (12 August 2012)
€8,760,033 (Italy) (29 January 2012)
€8,702,689 (Italy) (22 January 2012)
€8,603,744 (Italy) (15 January 2012)
€8,421,281 (Italy) (8 January 2012)
€7,971,843 (Italy) (1 January 2012)
€7,134,875 (Italy) (25 December 2011)
€6,654,613 (Italy) (18 December 2011)
€5,466,656 (Italy) (11 December 2011)
€2,206,507 (Italy) (4 December 2011)
€2,423,049 (Spain) (22 May 2011)
€1,048,445 (Spain) (15 May 2011)
11. Weekend Gross
$1,821 (USA) (18 March 2012) (3 Screens)
$4,124 (USA) (11 March 2012) (4 Screens)
$7,044 (USA) (4 March 2012) (11 Screens)
$159,622 (USA) (26 February 2012) (164 Screens)
$9,791 (USA) (19 February 2012) (16 Screens)
$17,567 (USA) (12 February 2012) (24 Screens)
$22,402 (USA) (5 February 2012) (40 Screens)
$19,165 (USA) (29 January 2012) (20 Screens)
$12,947 (USA) (22 January 2012) (13 Screens)
$10,083 (USA) (15 January 2012) (15 Screens)
$15,335 (USA) (8 January 2012) (21 Screens)
$17,665 (USA) (1 January 2012) (23 Screens)
$53,678 (USA) (18 December 2011) (116 Screens)
$115,370 (USA) (11 December 2011) (195 Screens)
$241,434 (USA) (4 December 2011) (305 Screens)
$34,691 (USA) (20 November 2011) (36 Screens)
$46,149 (USA) (13 November 2011) (38 Screens)
$69,104 (USA) (6 November 2011) (54 Screens)
$61,167 (USA) (30 October 2011) (61 Screens)
$109,215 (USA) (23 October 2011) (96 Screens)
$129,387 (USA) (16 October 2011) (107 Screens)
$130,882 (USA) (9 October 2011) (119 Screens)
$180,622 (USA) (2 October 2011) (140 Screens)
12. $222,430 (USA) (25 September 2011) (165 Screens)
$340,770 (USA) (18 September 2011) (301 Screens)
$415,831 (USA) (11 September 2011) (350 Screens)
$670,125 (USA) (4 September 2011) (402 Screens)
$743,594 (USA) (28 August 2011) (652 Screens)
$552,103 (USA) (21 August 2011) (258 Screens)
$703,277 (USA) (14 August 2011) (328 Screens)
$981,867 (USA) (7 August 2011) (399 Screens)
$1,156,947 (USA) (31 July 2011) (471 Screens)
$1,804,662 (USA) (24 July 2011) (621 Screens)
$1,876,588 (USA) (17 July 2011) (706 Screens)
$2,634,785 (USA) (10 July 2011) (819 Screens)
$3,437,761 (USA) (3 July 2011) (858 Screens)
$4,171,047 (USA) (26 June 2011) (951 Screens)
$5,830,723 (USA) (12 June 2011) (944 Screens)
$2,769,992 (USA) (5 June 2011) (147 Screens)
$1,929,671 (USA) (29 May 2011) (58 Screens)
$599,003 (USA) (22 May 2011) (6 Screens)
ARS 51 (Argentina) (15 November 2011) (1 Screen)
ARS 1,553 (Argentina) (8 November 2011) (1 Screen)
ARS 3,089 (Argentina) (1 November 2011) (1 Screen)
ARS 24,892 (Argentina) (25 October 2011) (3 Screens)
ARS 33,313 (Argentina) (18 October 2011) (8 Screens)
ARS 64,402 (Argentina) (11 October 2011) (8 Screens)
13. ARS 52,502 (Argentina) (4 October 2011) (6 Screens)
ARS 77,612 (Argentina) (27 September 2011) (15 Screens)
ARS 112,145 (Argentina) (20 September 2011) (17 Screens)
ARS 182,923 (Argentina) (13 September 2011) (36 Screens)
ARS 320,203 (Argentina) (6 September 2011) (44 Screens)
ARS 465,511 (Argentina) (30 August 2011) (50 Screens)
ARS 685,487 (Argentina) (23 August 2011) (53 Screens)
ARS 749,971 (Argentina) (16 August 2011) (51 Screens)
ARS 970,914 (Argentina) (9 August 2011) (57 Screens)
ARS 1,248,686 (Argentina) (2 August 2011) (57 Screens)
ARS 1,495,116 (Argentina) (26 July 2011) (57 Screens)
ARS 1,554,937 (Argentina) (19 July 2011) (57 Screens)
ARS 2,008,322 (Argentina) (12 July 2011) (56 Screens)
ARS 1,951,400 (Argentina) (5 July 2011) (50 Screens)
€1,728,757 (France) (22 May 2011) (467 Screens)
€2,972,136 (France) (15 May 2011) (406 Screens)
€33,782 (Italy) (29 January 2012) (20 Screens)
€57,415 (Italy) (22 January 2012) (27 Screens)
€107,868 (Italy) (15 January 2012)
€210,201 (Italy) (8 January 2012)
€315,862 (Italy) (1 January 2012) (128 Screens)
€219,243 (Italy) (25 December 2011) (131 Screens)
€622,279 (Italy) (18 December 2011) (288 Screens)
€1,664,072 (Italy) (11 December 2011) (476 Screens)
14. €955,780 (Spain) (22 May 2011) (265 Screens)
€1,048,445 (Spain) (15 May 2011) (257 Screens)
Admissions
1,645,081 (France) (12 July 2011)
1,619,978 (France) (5 July 2011)
1,576,794 (France) (28 June 2011)
1,516,212 (France) (21 June 2011)
859,379 (France) (24 May 2011)
8,603,744 (Italy) (15 January 2012)
Filming Dates
July 2010
Filming Locations:
Arc de Triomphe, Paris 8, Paris, France
Café du Trocadéro, 8 Place du Trocadéro, Paris 16, Paris, France
Cathedral de Notre Dame, Île de la Cité, Paris 4, Paris, France
Chateau de Versailles, Versailles, Yvelines, France
Church of Saint Etienne du Mont, Montagne Sainte-Geneviève, Paris, France
Flea Market, Saint-Ouen, Seine-Saint-Denis, France
Giverny, Eure, France
Glass Pyrimid in front of Musee du Louvre, 34 Cour Napoléon, Paris 75, Paris, France
Hotel du Louvre, Paris 16, Paris, France
Hôtel Le Bristol - 112 Faubourg Saint-Honoré, Paris 8, Paris, France
Jardin de Monet a Giverny, Giverny, France
15. Le Grand Véfour, 17 rue de Beaujolais, 75001 Paris, France
Luxor Obélisque, Place de la Concorde, Paris 8, Paris, France
Musée Rodin - 77 rue Varenne, Paris 7, Paris, France
Musée Rodin, 79 rue de Varenne, 75007 Paris, France
Musée de l'Orangerie - Jardin des Tuileries, Paris 1, Paris, France
Palais Garnier, Avenue de la Opera, Paris, France
Paris, France
Place Vendôme, Paris 1, Paris, France
Place de l'Abbé Basset, Paris 5, Paris, France
Pont Alexandre III, Paris 7, Paris, France
Pont Neuf, Paris 1, Paris, France
Pont de l'Archevêche, Paris 5, Paris, France
Quais de la Seine, Paris, France
Rue Pierre le Grand, Paris 8, Paris, France
Shakespeare & Company - 37 Rue de la Bucherie, Paris 5, Paris, France
Technical Specifications:
Camera
Arricam LT, Cooke S4, 5/i, Panchro and Angenieux Optimo Lenses
Arricam ST, Cooke S4, 5/i, Panchro and Angenieux Optimo Lenses
Laboratory
DeLuxe, New York (NY), USA (digital intermediate)
Laboratoires LTC, St. Cloud, France
Quinta Industries, Paris, France (digital dailies)
16. Film length (metres)
2.567 m (Portugal, 35mm)
Film negative format (mm/video inches)
35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219)
Cinematographic process
Digital Intermediate (2K) (master format)
Super 35 (3-perf) (source format)
Printed film format
35 mm (spherical) (Kodak Vision 2383)
D-Cinema
Awards:
AFI Awards, USA
In 2012 it Won the AFI Award for Movie of the Year.
Recipients:
Stephen Tenenbaum
Letty Aronson
Academy Awards, USA
In 2012 it Won the Oscar for Best Writing, Original Screenplay
Recipients:
Woody Allen
17. Austin Film Critics Association
In 2011 it Won the Austin Film Critics Award for Best Original Screenplay
Recipients:
Woody Allen
Broadcast Film Critics Association Awards
In 2012 it Won the Critics Choice Award for Best Original Screenplay
Recipients:
Woody Allen
Central Ohio Film Critics Association
In 2012 it won 2nd place in COFCA Award for Best Screenplay – Original
Recipients:
Woody Allen
Cinema Brazil Grand Prize
In 2012 it Won the Cinema Brazil Grand Prize for Best Foreign-Language Film
Recipients:
Woody Allen
Cinema Writers Circle Awards, Spain
In 2012 it WonCEC Award for Best Screenplay, Original
Recipients:
Woody Allen
Dallas-Fort Worth Film Critics Association Awards
In 2011 it won 2nd place in the DFWFCA Awards for Best Screenplay
Recipients:
Woody Allen
18. Golden Globes, USA
In 2012 it Won the Golden Globe Awards for Best Screenplay - Motion Picture
Recipients:
Woody Allen
Grammy Awards
In 2013 it Won the Grammy Award for Best Compilation Soundtrack For Visual Media
Recipients:
Woody Allen
National Society of Film Critics Awards, USA
In 2012 it won 3rd place in the NSFC Awards for Best Screenplay
Recipients:
Woody Allen
New York Film Critics Circle Awards
In 2011 it won 2nd place in the NYFCC Award for Best Screenplay
Recipients:
Woody Allen
Online Film Critics Society Awards
In 2012 it Won the OFCS Award for Best Screenplay, Original
Recipients:
Woody Allen
19. San Diego Film Critics Society Awards
In 2011 it Won the SDFCS Awards for Best Screenplay, Original
Recipients:
Woody Allen
Southeastern Film Critics Association Awards
In 2011 it Won the SEFCA Award for Best Screenplay, Original
Recipients:
Woody Allen
Turia Awards
In 2012 it Won the Audience Award and the Turia Award for Best Foreign Film
Recipients:
Woody Allen
Writers Guild of America, USA
In 2012 it Won the WGA Award (Screen) for Best Original Screenplay
Recipients:
Woody Allen