*MOVIE RECAP: PAIN AND GLORY (Dolor y Gloria)

Full disclosure, Pedro Almodovar is by far my favorite living filmmaker alive today. To me, Almodovar is the closest thing we have to Luis Buñuel and Federico Fellini in terms of originality and style. His body of work is beyond impressive and complex, which can be intimidating for anyone attempting to watch an Almodovar film for the first time. However, Pain and Glory is an excellent entry point for anyone interested in exploring the deep and outstanding filmography of Pedro Almodovar.

The story centers around Salvador (Antonio Banderas), a depressed movie director who is thinking of retiring from filmmaking because of chronic health problems. Meanwhile, a film festival wants to screen one of Salvador’s films and have the director and the lead actor Alberto (Asier Etxeandia) do a Q & A after the screening. But Salvador and Alberto had a falling out and have not spoken to each other in many years.

Reconnecting with Alberto, followed by a series of encounters with people from his past; Plus, a look back at his childhood leads Salvador to reflect on his choices throughout his life. Additionally, the mother and son relationship is a crucial component of this story. Salvador’s mom Jacinta (Penelope Cruz), is a highly influential figure here. The constant collaboration between Penelope Cruz and Almodovar is always magic.

We get to see young Salvador (Asier Flores) coming of age in a small town village in Spain under the influence of Franco’s fascist regime. It is remarkable how the old worldly nature of living in caves and catacombs’ housing style, somewhat disconnected from the modern 20th century, is presented. This depiction of provincial Spain and the old-world country people of Spain is beautifully done.

Young Salvador’s sexual awakening and his relationship with the female energy are significant components of this story. Also, the way that childhood is remembered through the company of women who helped define the world for him is extremely important. The mother-son bedside scene as their older selves is one of the most powerfully moving written scenes in the entire Almodovar filmography.

Ultimately, this is the story of a filmmaker in crisis — Reflecting on his career and life story while dealing with his body breaking down. On top of that, reconnecting with essential people from his past, like Alberto and Federico (Leonardo Sbaraglia), forces Salvador to reconsider multiple aspects of his life. At the same time, remembering his sexual awakening also allows Salvador to resurrect his creative spirit and piece together all these different elements of his life’s journey.

The parallels between Pedro Almodovar and Salvador are astounding. The character of Salvador is clearly modeled after Almodovar; Salvador dresses like him and even lives in an apartment that closely resembles Almodovar’s place. In addition, they are both dealing with similar health issues, including back pain.

Incredible performance by Antonio Banderas. There is a physical aspect to this role that Banderas captures brilliantly. Plus, Banderas’s vulnerability comes across exceptionally well. Salvador lives in darkness, but there is beauty and a colorful energy around him.

Pain and Glory is an impressive film — It comes off as fresh and different but somewhat familiar to previous films by Almodovar. As far as I can tell, Almodovar uses similar themes here that he developed in his earlier movies. It feels like this is the story Pedro had been making for the last 40 years of his filmmaking career. His stories and themes always seem to relate to the same central thing; sexual identity, cinema culture, and Spanish culture.

All in all, this is a highly complex story, but all of it comes together cohesively. It is an intensely personal film, full of melancholy, regret, addiction, depression, pain, and glory.

Five out of Five Popcorn Bags 🍿🍿🍿🍿🍿

Pain and Glory (2019).

*MOVIE RECAP: DON’T LOOK UP

I’m surprised how divided most people are about this movie; some people appreciate the climate change metaphor, and others flat out hate it. The reviews have been all over the place. I sense political sensitivities are driving most of the negative feedback.

Anyhow, the story centers around the discovery of a comet by a tenure university professor, Dr. Randall Mindy (Leonardo DiCaprio), and a Ph.D. candidate, Kate Dibiasky (Jennifer Lawrence). According to their calculations, this comet’s trajectory is in a direct collision course with Earth. And its impact will potentially be more significant than the comet that wiped out the Dinosaurs. As a result, human life on Earth will probably cease to exist — which means they have to urgently bring this information to the US government and the White House.

At the White House, the president of the U.S., Jane Orlean (Meryl Streep), doesn’t really take this information seriously and dismisses it as a political distraction from the upcoming elections. It is important to note that Meryl Streep’s POTUS is a right-wing nationalist modeled after Trump. So these two scientists have no choice but to take this information to the media.

From this point on, it is all-out chaos as our main characters frantically try to convince the world of the severity of this extinction-level event. While the media, the press, and the government don’t seem too concerned about the gravity of the situation. At the same time, most of society seems more interested in the love life of two celebrities. And even Leo’s character falls for celebrity culture and becomes a celebrity scientist, corrupted by fame. 

Eventually, POTUS uses this potential life-ending catastrophe as a political tool to attack the left. She weaponizes the phrase Don’t Look Up as a catchphrase for her right-wing supporters, similar to how Trump weaponized the MAGA phrase. With this performance, Meryl Streep channels most of the current prop of right-wing politicians; her character comes across as somewhat cartoonish, but it rings hilariously and scarily true in many aspects. 

The entire ensemble cast is impressive but somewhat underutilized. Nevertheless, there were some standouts like Jason Orlean (Jonah Hill); this character is pretty notable as the inept son and Chief of Staff to the President — His scenes are hysterical. The Air Force General (Paul Guilfoyle) charging people for free snacks at the White House was genius.

The character of Peter Isherwell (Mark Rylance) is fascinating as this weird and anti-social tech billionaire. He is a heavy political donor who controls POTUS and sets up the agenda for the White House. This character represents all of the outside corporate interests dictating domestic and foreign policy in the US government. It is beyond obvious that this character is a mashup of a bunch of billionaires like Peter Thiel, Elon Musk, Jeff Bezos, and Mark Zuckerberg, to name a few.

However, one of the most complex characters in this movie is Yule (Timothy Chalamet); this character provides the spiritual component needed for the overall viewpoint of this storyline. Yule comes across as the spiritual consciousness of this movie. Also, the ending of the film and the credit scenes were definitely my favorite parts of this movie.

Don’t Look Up is a well-intended sci/fi dramedy— A parable for climate change and the cynical, irresponsible approach by those with the tools and power to bring about change. And by using a planet-killing meteor as a metaphor for climate change, this movie directly critiques modern society, social media culture, bureaucracy, and politics. When considering the current political climate where everything is politicized, Adam McKay is one of the few filmmakers out there bold enough to address essential and profound real-world issues by using farce and satire.

Three out of Five Popcorn Bags 🍿🍿🍿

DON’T LOOK UP, 2021. (Streaming on Netflix)

*MOVIE RECAP: BEING THE RICARDOS

For one, I’m glad that we have gotten two Aaron Sorkin written and directed movies two years in a row — The Trial of the Chicago 7, in 2020, and now, Being the Ricardos in 2021. It seems like he is getting more comfortable behind the camera and finding his way as a director.

But first, I need to address the elephant in the room. There was tons of nonsensical controversy and outrage with the casting of Nicole Kidman and Javier Bardem. Primarily by people who don’t have a clue about the art of acting and filmmaking. And by people who go about the wrong way to ensure and promote fairness and equality in media representation.

Here is the thing, people who had a problem with Bardem, a Spaniard playing a Cuban, are beyond dumb. Any actor of Hispanic heritage is qualified to play any member of our Latino culture, simple as that. After all, Javier Bardem already played a Cuban character back in 2000 in the movie Before Night Falls, a biopic of Cuban writer and poet Reinaldo Arenas. A performance for which Bardem was nominated for a best actor Academy Award — Bardem was outstanding in that movie, and he deserved the Oscar nomination for sure.

Additionally, we have many examples of actors from different Latin American slash Hispanic cultures playing characters from different nationalities like Gael Garcia Bernal, a Mexican actor playing Che Guevara, an Argentinian in two movies, Fidel (2001), and The Motorcycle Diaries (2004). Also, Benicio Del Toro, a Puerto Rican actor, won an Oscar for a best-supporting actor playing a Mexican character in Traffic (2000).

Not to mention all those times when Antonio Banderas, a Spaniard, has played Mexican characters, like in Desperado and Once Upon a Time in Mexico and those two Zorro movies, to name a few. Recently, we had Wagner Moura, a Brazilian actor playing Pablo Escobar, a Colombian character in the hit Netflix series Narcos — which was a critically acclaimed portrayal.

So I ask, where was the outrage then?

In any case, I could sit here and point out tons of actors successfully playing characters from different cultural backgrounds. But, unfortunately, and sadly, all of those people outraged by Bardem playing a Cuban are the same exact people who are setting back the decades of little progress for proper representation that we have made as a culture in recent years.

But what do I know about this? I’m just some random Hispanic immigrant — and a wannabe screenwriter. Right? not really an expert at all.

Anyhow, the story of this movie is centered around a week in the life of Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem). And it is set during the same week of production for an upcoming live shooting of the I Love Lucy show — with some flashbacks sprinkled throughout the story.

This movie is not your typical biopic per se; It starts with a fake documentary featuring older versions of the original writers for the I Love Lucy Show, Madelyn Pugh (Linda Lavin) and Bob Carroll (Ronny Cox). And the executive producer, Jess Oppenheimer (John Rubinstein). I was thrilled to see Ronny Cox in a big-time Hollywood movie again; he played one of my all-time favorite movie villains, Dick Jones, in Robocop (1986).

The main plot point of the story here is the accusation by the press that Lucille Ball is a member of the communist party. The implications of this accusation could cost Lucy her career and the possible cancellation of their hit TV show. So the tension and the stakes of this shocking accusation become the main obstacle for our heroes to overcome. And we get to see how this real-life TV couple had to tackle this issue head-on. Desi has to deal with the fallout and navigate through all of the network and corporate politics. At the same time, Lucy is trying to keep the show running efficiently and keep it fresh and funny. And on top of that, she is trying to save her marriage.

Nicole Kidman delivers an interesting performance; She managed to capture the heart of two characters, one real and one fictitious. In essence, Kidman’s performance focuses more on Lucille Ball, the person and not as much as Lucy Ricardo, the TV character. Still, when she transforms into Lucy Ricardo, she nails it beautifully.

There were some excellent scenes where we get to see Lucy display her comedic genius. When the writers pitched scenes to Lucy, you could see how her comedic mind worked as she began to imagine the multiple possibilities within the scene—like a chess master, seeing how a scene would play out ahead of time. Also, we got to see how obsessed she was with physical comedy.

Javier Bardem brings lots of charisma and charm into this role. However, I didn’t really see the same Desi Arnaz that I remember from the old interviews on YouTube at the Johnny Carson show and the old NBC David Letterman show. I still think that the version of Desi Arnaz in the 1992 movie Mambo Kings, played by Desi Arnaz jr, remains my all-time favorite version of Desi. Nonetheless, Javier Bardem has some solid scenes here, most notably, Bardem’s impressive version of Cuban Pete.

Also, the location settings, custom designs, and set pieces are all great and felt right with the period. The scenes in the writer’s room were exceptional; it was cool seeing the writers working out their material — the difficulty of making comedy for TV and how they went about creating comedy. The fake documentary thing, set in the future with the older versions of the writers and producer, was a good choice, but I wanted to see a little more of them throughout the movie.

The taboos and the gender dynamics of the era are also on full display here. It was an era when a handful of old conservative white males were making all the important decisions — and having a pregnant woman appear on TV or even to say the word pregnant on TV was considered obscene. The scenes where the white male, corporate suits clash with Lucille are some of the best scenes in the movie. It is important to note that Lucy was the first visible pregnant woman to appear on TV.

The supporting performances by Nina Aranda (Vivian Vance) and JK Simmons (William Frawley) are praiseworthy. The younger version of the writers, Alia Shawkat (Madelyn Pugh) and Jake Lacy (Bob Carrol), are solid. Also, the younger version of producer Jess Oppenheimer played by Tony Hale, was notable. I appreciate the layers of humanity both central characters were given. It brilliantly touches their past, personal relationships, and comedic genius. Especially when seeing that Lucille’s ultimate goal was to have a real home and a family, and her struggle to keep everything together — it all comes through across to the audience clearly and nicely.

Being the Ricardos is a well-written, sophisticated, and complex movie — Typical of an Aaron Sorkin production. As a writer-director, Sorkin is a superb combination that will only improve as he embarks on more directing and writing projects.

Three out of Five Popcorn Bags 🍿🍿🍿

Being the Ricardos (2021). Streaming on Prime.

*MOVIE RECAP: 8-BIT CHRISTMAS

I’m a sucker for nostalgia-driven movies and TV shows, especially 70s, 80s, and 90s stuff. So this movie is right on my side of the street.  

8-Bit Christmas is based on a book of the same name by Kevin Jakubowski, who also wrote the screenplay. It follows a father, Jake Doyle (Neil Patrick Harris), telling his young daughter, Annie (Sophia Reid-Gantzert), a story about his obsessive quest to get his hands on a Nintendo Entertainment System (NES) during the 1988 Christmas season. 

The story is set around a working-class family in the suburbs of Chicago. Young Jake Doyle (Winslow Fegley) tells his parents that he wants a Nintendo for Christmas. But, unfortunately, his parents feel that video games are bad for kids. As a result, young Jake, along with his group of misfit friends, has to develop a plan to convince his parents to buy him an NES or find a way to get one on his own.

Jake and his group of friends are a hilarious and diverse bunch. Most notably, Jeff, the liar (Max Malas) who makes up wild stories and cannot stop lying about anything and everything. In addition, little Conor Stump (Jacob Laval) is a scene-stealer, this young actor was remarkable in the HBO limited series The Plot Against America (2020), and he is great here again. 

The egotistical Timmy Keane (Chandler Dean) is hysterical as the richest kid in the neighborhood who owns the only NES in town. Timmy makes all the kids jump through insane hurdles while selecting only a handful of them for the privilege of playing Nintendo with him. Also, the school bully Jagorsk (Cyrus Arnold) is pretty notable.

As the town parents come together to push for the banning of video games in their community, the kids have to pool all of their resources together and figure out creative ways to get a Nintendo console for Christmas. And at the same time, setting themselves free from Timmy Keane’s tyrannical hold on the one and only Nintendo in town. 

The adults hold their own amongst the little scene stealers here. Steve Zahn (John Doyle) delivers a convincing and heartfelt performance. Jake’s mother, Kathy Doyle (June Diane Raphael), is solid, and her comedic timing is excellent. David Cross is brilliant as this shady but lovable dealer of black market goods. 

Yes, the premise is similar to A Christmas Story (1983), and it borrows some elements from other similar holiday movies. However, it still manages to feel fresh and original. All of the nostalgic throwbacks hit on the mark — Like the infamy of the NES Power Glove, the scarcity and popularity of Cabbage Patch dolls, and other 80s pop culture stuff. But, it all comes together nicely.

Personally, I related to this movie in many ways. First, it rang true to me because for a short time, I was the only kid in my neighborhood who owned an NES, and my friends would come over and play with me. But I wasn’t a little prick about it like Timmy Keane was. Second, Nintendo dominated the late 80s and early 90s — Games like Mega-Man, Mario Bros, Duck Hunt, Mike Tyson’s Punch-Out, Tetris, and The Legend of Zelda, among many others, were the obsession of kids from my generation as well as mine. So all of that resonated with me.

8-Bit Christmas is a fun and charming holiday movie, one of the best in recent years, and it belongs amongst the classics. It’s a good throwback to the 80s in the spirit of the Goonies and Stranger Things. It hit home for me; it brought back many memories growing up. I will definitely be adding this movie to my favorite holiday movies list.

Three out of Five Popcorn Bags 🍿🍿🍿

8-Bit Christmas (2021). Streaming on HBO MAX

*MOVIE RECAP: MOTHERLESS BROOKLYN

Here is another film I completely missed when it was initially released back in 2019. and it took me this long to finally watch it.

Motherless Brooklyn was a passion project for Edward Norton that took almost two decades to bring to life. Norton directed this movie and wrote the adaptation — a loose adaption that is, from the Jonathan Lethem 1999 novel of the same name.

The story is set in 1950s NYC, during a time when the city was run by a non-elected official Moses Randolph (Alec Baldwin). This character was inspired by real-life New York city planner Robert Moses who from 1930-1968 had uncontested authoritarian power over NYC and NY state—and made every significant decision about infrastructure in New York. Like where the roads went, where bridges were built, which buildings were torn down to make way for developing projects, and so on. Moses used shady tactics masquerading as “community improvement” programs to displace poor and minority communities. Using “Slum Clearing” programs to condemn whole sections of the city—evict everyone who lived there and turn those empty neighborhoods over to his private developers to build whatever he wanted.

The housing policies created and enforced by Moses were based on racist principles. Even today, in our current timeline, there is a direct connection in most of the gentrification policies and practices plaguing Black and minority communities throughout New York City with some of the same methods that Moses implemented.

and by the way…. Moses was also responsible for the Dodgers leaving Brooklyn. 

All of that makes for a pretty compelling story; however, the movie suffers from the plot’s ambitiousness.

Lionel (Edward Norton) is a private detective who witnesses his boss Frank (Bruce Willis) getting murdered. Frank was Lionel’s mentor, a father figure, and closest friend. Lionel suffers from Tourette syndrome, which made life pretty tough for Lionel, considering this movie is set during a time when doctors had not yet diagnosed the condition by name. Norton’s portrayal of Lionel’s Tourette syndrome outbursts reminded me of how he delivered similar outbursts in the movie The Score (2003).

As Lionel digs deeper, he discovers more dark truths about conspiracies and sinister plots involving high-level officials in city government. The story moves pretty slow, but it works because it allows the audience to follow along with Lionel’s detective work, discovering things at the same time as Lionel does.

They tried hard to recreate the look and vibe of New York city of the 50s, but I never really felt like I was in the era while watching it. Many of the location settings felt contemporary and did not capture the essence of the 50s. The soundtrack, however, is terrific, and the Cinematography by Dick Pope is remarkable.

The all-star ensemble cast is incredible. Alec Baldwin delivers a powerful performance; his lines and dialogue are some of this movie’s best moments. Willem Dafoe (Paul Randolph) is brilliant, adding some background to the Moses Randolph character. There is a memorable scene at a diner between Dafoe and Norton that stands out to me.

I always enjoy watching Bobby Cannavale (Tony) in this type of role, but I felt like his character needed more screen time. The late great Michael k. Williams (Trumpet Man) is solid as usual. Coincidentally, both Cannavale and Williams were two of my favorites on Boardwalk Empire.

I really wanted to like this movie, and in a way, I kinda did. But I came out feeling a bit underwhelmed. Many things work pretty well here, and a few things did not work for me.

In any case, Motherless Brooklyn is an entertaining and ambitious film that merits some attention.

Three out of Five Popcorn Bags 🍿🍿🍿

Motherless Brooklyn (2019).

*MOVIE RECAP: DUNE — Part One

Embarrassingly enough, I went into this movie not having read the book. My knowledge of Frank Herbert’s Dune can be best summarized to a simple cliff notes overview of the story. And my other familiarity with the novel is that I used to sell hundreds of copies per year, back when I was a bookseller slash bookstore manager. It was a constant bestseller, so I always kept it in stock.

At the same time, I have to admit that I’m a bit biased when it comes to this movie. Full disclaimer, a few weeks before the official cast of Dune was announced, I got the chance to meet and exchange words with Timothee Chalamet briefly — Oscar Isaac made the introduction. Yes, THAT Oscar Isaac.

All told, I have been dealing with Mr. Isaac for a while now through my day job. He is a normal and down-to-earth dude — extremely likable and personable. Unlike some of those entitled Hollywood types, acting pretentious and asking to be treated special…ahem, Jeremy Strong…. I had an awkward conversation with Jeremy Strong on the phone once. But that is another story for a different time.

Anyhow, meeting Timothee Chalamet was a pretty awesome experience, and even though it was a brief encounter, it was a pretty memorable encounter; He shook my hand and said, “Hi, it is cool to meet you”….It made my day, week, month, and so on… and I haven’t shut up about it ever since.

So yes, it was my own personal “Hollywood moment.” One of many unique Hollywood moments — meeting celebrities is one of the cool perks of working in New York City.

Ok, about the movie. 

So this movie is officially named DUNE: Part One — because it is based on the first half of Frank Herbert’s 1965 Dune novel. And I assume that the next Dune movie will be based on the second half of the book — unless they decide to turn the entire first book into a trilogy, which I doubt.

I read in different pieces that Frank Herbert was heavily influenced by the 1926 book Seven Pillars of Wisdom by T.E Lawrence — which was the basis for the epic 1962 film Lawrence of Arabia directed by David Lean……One of my favorite films of all time.

In any case, the story of Dune takes place on a desert planet called Arrakis. The native people of this planet are called the Fremen — The Fremen are nomadic, Arab-looking tribes. They are ruled and oppressed by Baron Vladimir Harkonnen (Stellan Skarsgard) of the House Harkonnen; He is like a feudalistic planetary overlord of sorts.

The other power player here is the House of Atreides; Rule by Duke Leto Atreides (my boy, Oscar Isaac). Duke Leto’s young son Paul Atreides (Timothee Chalamet), heir to House Atreides.

The Emperor and supreme ruler of the known universe assigns Duke Leto to replace House Harkonnen as overlords of Arrakis and all of the “spice” mining operations there. Spice is a precious asset; it is the equivalent to oil in terms of power for fuel — You need this Spice for interstellar travel.

And here is where the fuckery starts…

There is a conspiracy between the Emperor and House Harkonnen to wipe out House Atreides from existence. So not long after arriving in Arrakis, there is a surprise attack by the combined forces of the Emperor and House Harkonnen to kill off House Atreides.

Young Paul Atreides and his mother, Lady Jessica (Rebecca Ferguson), escape, and the journey between boy and mother begin.

What pleasantly surprised me the most here was the solid screenwriting — primarily in how the knots and bolts of the story are explained to the audience. Mainly the opening scenes and the introduction of the Houses and the whole space mining concept, plus how the movie’s beginning gave us a quick background to the never-ending conflict between the ruling overlords and the Fremen. All of that was written and directed brilliantly, and it was very engaging.

Not having read the book, I was impressed with this adaptation because they did not try to force-feed the entire first book into one movie. Instead, they opted to split the books into parts and thus remain faithful to the source material. Therefore, it doesn’t feel like it was dumb down for the audience like some other adaptations out there.

Brilliant screenwriting work from Denis Villeneuve and his writing partners, Jon Spaihts (Prometheus, Passenger) and Eric Roth (Munich, The Good Shepherd, Forrest Gump, and The Insider).

Dune, the novel, is a complex and spectacular story that many consider unfilmable. But director Denis Villeneuve has created an exceptional experience here, adding a visual depth and dimension that I’m sure the book does not have — Villeneuve’s filmography is extraordinary with films like Blade Runner 2049 (2017) and The Arrival (2016), among others. So I’m not surprised by this achievement.

The scope and scale of this movie are epic and breathtaking. The combination of location shooting and special effects is outstanding. Bringing this world to life both digitally and physically is remarkable. The natural environment and the power of the desert felt real, which is something CGI or green screens cannot truly capture.

The atmospheric elements and the middle eastern imagery are well done. There is also a sense of spirituality and mysticism slowly being developed, which I’m sure will be further explored in upcoming films. On top of all that, Hans Zimmer’s score is superb.

The performances are excellent. Oscar Isaac, Josh Brolin, Jason Momoa, Javier Bardem, Dave Bautista, Zendaya, Stellan Skarsgard, and David Dastmalchia are all fantastic. There is an air of Marlon Brando from Apocalypse Now to Stellan Skarsgard’s character — No CGI, only prosthetics for Skarsgard — pretty cool.

Additionally, Rebecca Ferguson is noteworthy here; Lady Jessica is at the epicenter of the story, and Ferguson conveys such a powerful presence in every scene that she is in.

But objectively, Timothee Chalamet is the heart and soul here; he is perfect for this role. At first, he seems flat, stoic, and almost emotionless. But as the story evolves, you see him maturing and embracing his messianic destiny. There is a sense of vulnerability from Chalamet’s performance that merits praise.

And sure, this is another white savior story; however, it gets a pass from me, mainly because the source material is over 55 years old. My other issue is that they did not make time early enough in the story to explain to the audience about the whole aspect of sword-fighting with shields and how those personal shield devices can protect you. I hope there will be a director’s cut available at some point addressing some of the technology, like the whole thing with the lack of computers and Artificial Intelligence in this world.

Lastly, I find it interesting how they went out of their way to exaggerate Zendaya’s contribution here. The advertising was misleading — she was all over the promotion materials, hyping up her performance. Yet, she was in the movie for roughly 10 minutes, but it is evident that she will play a significant role in the second part.

All in all, Dune: Part One is a major cinematic achievement. Here is an adaptation that Hollywood got right, and I have not been this excited about a sci/fi slash fantasy series since the original Lord of the Rings trilogy back in the early 2000s.

Four out of Five Popcorn Bags 🍿🍿🍿🍿

DUNE: Part One (2021).

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