You kidnapped me, you flew me out here on your daddy’s jet, chained me to your boyfriend’s side to perform a surgery most people I treat wait over a year for. So, yeah, this is your fault.

— Reid (to Luke)

The Silent House (2011) Premieres at Sundance

ETA 11 May 1.13pm GMT:

In the interest of full disclosure: I am removing one of the tweets from this post – something I generally don’t like to do because it strikes me as censorship. The tweet is one of the most negative (if not THE most negative) from the original midnight screening of Silent House (2011) at Sundance earlier this year.

I am removing it because it shows up as the description for this post in Google and it a) on Google, it looks like it could be my review (!), and I haven’t even seen it; and b) that it might be representative (which it’s not – the reviews for this film are very much mixed).

Yes, this is a fan site, and I want nothing more than to see Eric and Van succeed, and to promote their work. But if reviews are clearly mixed (as they were for Silent House) I don’t want to whitewash it either, because I think that’s also misleading.

There have been a lot of people finding this page recently (the original Uruguayan version was just released in the UK). In general, the internet has been a TERRIBLE source of information on either of these movies because people are either too sloppy or two lazy to distinguish between the two films! I’ve seen promo shots and clips of one film attached to reviews of the other; the Guardian actually has credits for BOTH films mixed up together as if they were one film, so I do not want to exacerbate any unfair bias people want to develop against EITHER film.

So, when and if Google re-indexes this page (I’ve just installed a new Windows Live Writer plug in to generate proper Meta tags – will see if they pick up properly) I will put back the missing tweet and hope that it is not once again the one sentence that Google picks up to represent this page.

ETA 25 Jan 12.35pm GMT:

Okay, now it’s official. Sources including Variety are widely reporting that Silent House was sold to Liddell Entertainment. This has also been confirmed by Eric via According to Mike Fleming at, who claims an exclusive:

Mickey Liddell’s Liddell Entertainment has acquired domestic and most world rights to the horror film Silent House in a deal just brokered by CAA. I’m told the deal is a $3 million minimum guarantee, and a P&A commitment upwards of $3 million. Liddell gets all territories but UK, Scandanavia and the Middle East. Liddell, who made a splash last year backing the acquisition of the Alejandro Gonzalez Inarritu-directed Biutiful, is working with CAA to set a distributor. Several are circling, including Lionsgate and The Weinstein Company.

Of course, as someone based in the UK, I’m wondering about why UK, Scandinavia and the Middle East were singled out….

Hollywood Reporter adds:

Last year’s sudden savior Mickey Liddell has swooped into Sundance 2011 to pick up domestic and most worldwide rights to the horror film Silent House. The Liddell Entertainment topper plans to flip domestic rights to a U.S. distributor. Thus far, Lionsgate is the main interested partner.

Plus some new Sundance photos of Eric Sheffer Stevens, Elizabeth Olsen, Chris Kentis, Laura Lau, and a fifth person I’d assume is the actor who plays Sarah’s dad, including:


ETA 22 Jan 2011, 5.00pm GMT: There is simply no way to describe the reviews coming in for this film other than “mixed.” Well, perhaps “bimodal”. The reviewers seem to disagree about just about all aspects of the film, but they agree on a few points:

  • Even the reviewers who liked it generally concede that a major suspension of belief is required (who in their right mind would stay in that house as long as Elizabeth Olsen does? makes me wonder how Van Hansis’s Occupant will handle that question!)
  • The majority seem to feel it’s scary and interesting from a technical perspective
  • The film is likely to be picked up by a US distributor for a full-scale theatrical release. Several reviewers mentioned Harvey Weinstein sightings and that the midnight showing on Thursday was “packed with potential buyers” – good news for the film’s producers.

But on most other points there is disagreement, including:

  • The one-shot filming: reviews range from “impressive” and “to be appreciated” to “cheated” and “a gimmick”
  • Elizabeth Olsen either “can’t carry the weight” or “excellent”
  • The jump-scares in the first hour prompted “covering my eyes” and built tension, or were “cliche” and ho hum
  • The plot twist at the end ranges from “saw it three times in other films in the last year alone” to so surprising/confusing that people gasped or had to ask what happened

Eric Sheffer Stevens (who plays Uncle Peter) hasn’t been mentioned much, presumably because his part isn’t that big. In the MovieFone review, they say:

And then there’s her uncle Peter, who has the whole "you’ve grown up so much thing" happening, even though he looks like he’s only a few years older than she (Elizabeth Olsen’s character, Sarah) is. After Daddy dearest and Peter get into a tiff, Peter drives off in a huff, leaving the father and daughter alone in the old house.

Links to premiere photos, the MTV teaser clip, reviews, tweets from the initial midnight press screening, a transcript of Cinematical’s 5Minutes with Chris Kentis and Laura Lau, plus a YouTube clip of an unsuccessful audition tape all follow below the transcript and the jump…

ETA 24 Jan 8.41am GMT:

Sources have told the Crew at the forum are reporting that Silent House has NOT been sold to Lionsgate, and in fact that ABC News got their movies mixed up and were thinking of Open Water! Most reviews (even those who hated the movie) have indicated they think someone will purchase rights, even if this deal is a bogus report. Will keep you posted when/if ABC issues a correction and/or someone else confirms the story.

ETA 23 Jan, 9.22pm GMT:

(?) ABC News reports that Silent House was sold to Lionsgate for more than $2 million after its Sundance premiere on Friday. Hello, theatrical release!

Meanwhile, says:

Probably the most ambitious piece of filmmaking in the festival, ‘Silent House’ definitely succeeds in what it sets out to do, and the audience we experienced it with were jumping, shouting and just plain having a good time getting their scare on.

Transcript of 5 Minutes with Chris Kentis and Laura Lau

Erik Davis from Cinematical has posted a video interview with Chris Kentis and Laura Lau who are both listed as directors on the film’s IMDb entry. The husband and wife team were also responsible for the 2004 psychological thriller Open Water, which is referenced frequently in this interview.

According to Wikipedia, Open Water was financed by Kentis and Lau to the tune of $130,000 and was bought by Lionsgate Entertainment (who have just purchased rights to Silent House) for $2.5 million after its screening at the Sundance Film Festival. Lions Gate spent a further $8 million on distribution and marketing for Open Water. The film ultimately grossed $55 million worldwide (including $30 million from the North American box office alone).

ED: Hi, Erik Davis, and this is Chris Kentis and Laura Lau of Silent House, premiering in the midnight section here at Sundance. Hello!

CK and LL: Hello.

ED: So, the film is unique because it’s told in one continuous shot. Logistical nightmare, or easier than it sounds?

[CK rolls his eyes; LL laughs]

LL: A little of both; I think a little of both. I think some of the things we thought were going to be logistically really difficult, they were not that difficult. Sometimes we got tripped up on things we didn’t expect.

CK: I think ‘extremely challenging,’ but because we had such a great crew, things went much more pleasant than we expected.

ED: Now, is it one take, or it’s multiple takes?

CK: It’s one take!

ED: So the whole film is one continuous take. So how many takes do you put your…

CK: We put our actors through a lot because they had to go over and over and over again and reach a certain emotional state and one little screw up and you had to go back to square one and do it again. But the whole goal was to create an experience where you’re with the character through the whole movie.

ED: So how many takes did you wind up doing that were an hour and a half long?

LL: We, we, you know…[defers to CK]

CK: We ultimately…y’know, once we got the movie down, there it was. [Laughs] So.

ED: Now, um, is there a lot of improv in something like this? [LL shakes her head no] Or is it every single line [both shake their heads], and every single movement is scripted?

LL: There was NO improv. Every single movement. Because of the fact that there is no cutting, so there’s no control over pacing or anything in post [production]. So everything was absolutely  scripted.

ED: One of the most impressive things I thought was that you have all these things happening in the house yet you hear nobody running to the next room to set up the next stuff. I mean, do you have all your set pieces set up in a line so a domino effect.

CK: Things were all set up and we had a fantastic AD [Art Direction?] team to cue up, but in post-production, you take sounds out. I mean, you could hear footsteps and cameras and people going all over the place. And this is why it was a big sound job.

ED: Now, casting – what decided who/how did you cast this film because it takes certain kind of actors to do this kind of film; I’m sure people weren’t lining up. I mean, how did you convince people to….

CK: I don’t know about lining up, but we worked with our casting director, Terry ___

LL: Yeah, so we had casting directors who came on who said right away, Elizabeth Olsen is the perfect person for this film. And she was. We saw a lot of actors who wanted to do the part and she was just really the person that was the right person for the role from the get-go.

ED: I’m curious: It’s been awhile since Open Water. What, the gap in between films – um, was is, why?

CK: Well, we’ve been working steadily, you know, and we kind of went into the Hollywood system working, writing many scripts and hired to write scripts. And had a lot of things that came very close, but we kind of learned the reality of what they’re talking about when they talk about the development process in Hollywood. And creative control is very important to us. And so, um, being passionate about a project is very important to us. It’s hard to find that mix of the thing you really care about and want to do and work in that system.

ED: It’s funny because I think a year or so after Open Water they started making these sequels to Open Water in different countries.

[CK and LL nod and laugh] CK: Yeah…

ED: Were you guys ever involved [CK and LL shake their heads] and did they ask you to make your own?

[CK and LL still shaking their heads] CK: No.

CK and LL: No

ED: Um, so where did this project come from? I know this was a remake of a film that just came out recently right? It played at Cannes this year. So how is that to remake a film that literally just played a festival, how does that come together so quickly.

LL: It’s really quite amazing. The original did premiere at Cannes and we were approached in June by the producers of that film and asked to remake it and we were immediately fascinated by the one take and also by the inspiration behind that film. And you know, right away from the beginning we thought what better place than Sundance to screen this movie. So we just, we worked really, really hard to hget here.

ED: Now, I’m curious, Open Water, you filmed without a crew, I believe.

CK: [nods] Yes.

ED: Which one was harder – the one shot, or to film in the middle of the ocean without a crew?

CK: Two different challenges. Different challenges.

LL: I would say Open Water was probably harder because we literally had no crew.

CK: But it was fun. It was hard, but it was fun, too.

LL: It was fun, but I’m just saying Open Water was harder. It took us a long time to make that movie because we didn’t have any of that support. It was really a very different experience [CK nods]. But, um, it was great. It was so challenging to make that film with no help, and so I think we took a lot of those skills into this movie where we could make a movie in such a short schedule if we had a lot more support.

CK: Well, we, knowing how we got from doing every crew position in Open Water made a big difference in our understanding of how to pursue this.

Great, thanks. That was five minutes with Chris Kentis and Laura Lau. Congrats and good luck with the film.

CK and LL: Thank you.

Premiere Photos

Thanks to ilovereid on the and LRO forums, we have a link to the official premiere photos courtesy of Getty Images. There may be more available on the US site, but my browser keeps sending my to my local UK site.

This is a sampling – the larger versions have watermarks on them, so you’ll have to go to the Getty site to see them closer up.

image image image

Teaser Clip

MTV has posted the first clip from Chris Kentis and Laura Lau’s 2011 remake of Silent House. It’s an MTV “exclusive” though it has been picked up by some other sites as well. Only Elizabeth Olsen is included. As of 22 Jan 2011, 4.53pm GMT, it was #13 on their most popular/most viewed list.


ETA 23 Jan 9.20pm GMT:

In addition to saying that Silent House “definitely succeeds,” has posted a 5-minute clip of filmmakers Chris Kentis and Laura Lau

Vanity Fair says:

Who’d have ever thought a Polaroid could be so terrifying? Silent House provides one of the scariest scenes ever in a movie, and it all comes down to a pitch-black room and one old Polaroid camera.

On opening night, the crowds flocked to the Press & Industry screening of this horror film from the same writer-director team that brought us 2003’s Open Water. As one might guess, the title house in the film is anything but silent, and suspense, fear, fright, and horror lurk under every table, and even drip from the sink. But the real fun begins when we start to question the sanity of our heroine, Elizabeth Olsen—the youngest Olsen girl and a dead ringer for her older twin sisters.

And CinemaBlend’s take on it:

Olsen isn’t just the star of Silent House but the complete life force; her wide, expressive face fills nearly every frame, her voice and pulse building the film’s rhythm and drive….For a while she’s accompanied by her father (Adam Trese) and overly familiar uncle (Eric Sheffer Stevens), but we all know the young girl in the white tank top isn’t going to be protected by others for long.

Directors Chris Kentis and Laura Lau are deliberately playing with all the haunted house cliches, from jump scares– there are plenty, and they never get less frightening-– to the escape that turns out to be just another trap. It’s not that they transcend the genre, exactly, but the unwavering camera shots keep the tension going well beyond where it would have in a normal film, and Olsen’s constant terror bleeds through to the audience with the camera keeping constant vigil. It gets a little exhausting to watch her cry and scream constantly, and it’s a shame the directors don’t give Olsen a broader emotional range to play beyond "scared to death," but her fully committed performance makes it compelling all the same.

For as limited as the story is, Silent House feels a little unwieldy at times, whether getting bogged down in mundane actions as it follows the protagonist or engaging in a little over-the-counter psychology during the "shocking" final twist. A movie this contained ought to run fleetly and with precision, but though it sustains its tension and a sense of wonder thanks to the fluid camera, it doesn’t engage much beyond being a genuinely frightening genre exercise. Still, tension junkies will certainly get what they’re looking for, and Olsen can celebrate being a rising young actress who dabbled in horror while displaying remarkable acting chops at the same time. Silent House is still looking for a distributor here at Sundance, but it seems a fair bet to say you’ll be seeing it out there soon enough.

In the CinemaBlend Video Blog review (cue to about 3:27), Katey Rich says:

[Elizabeth Olsen’s] very good in it….it’s her in a haunted or mysterious house….You don’t know what’s going on…The gimmick is that it’s one single shot; it’s not really…It’s very effective in that way, makes it really interesting….I watched with my fingers over my eyes which is abotu the best recommendation I can give you.

ETA 22 Jan 9.18pm GMT: calls Elizabeth Olsen “Sundance’s breakout star” in a review that features a YouTube clip of an interview with the star and a cute photo of her, Eric Sheffer Stevens and Haley Murphy (not sure what Haley’s connection is, but she’s in several of the premiere photos. Here’s what else it says:

“A lot of buzz is surrounding a little horror film that uses a single camera shot to follow a wide-eyed, terrified girl around an abandoned summer house.

“It’s called ‘Silent House’,” but the film’s even bigger buzz is around the actress who plays that terrified girl – Elizabeth Olsen – and she is quickly turning into Sundance’s breakout star.

Olsen is in every shot of ‘Silent House,’ since the camera follows her in a single shot throughout the movie, either behind her shoulder or in front of her, capturing the rising fear, then panic then hysteria that she effectively sustains through the film’s 90 minutes.

21 Jan 8.36pm GMT: Reviews continue to come in following the first public showing on Friday afternoon at Sundance. A couple of reviews have mentioned an interesting use of flash photography and Poloroids, but no one specifies what that means…

A sampling:

From Kim Voynar, MovieCityNews:

Fortunately, directors Chris Kentis and Laura Lau (who directed the terrific Open Water, the film responsible for my now permanent aversion to ever going deep-sea scuba diving) know there’s a difference between what your average savvy person would do in such a situation and what makes for a tense, spooky thriller.

The entire film is told from the perspective of Sarah (Elizabeth Olsen, younger sister of the Olsen twins, and she is excellent here), who, as aforesaid, is at this house with her dad and uncle. Right from the start, there’s an uneasy vibe: Dad is overbearing and controlling, Uncle Pete has a decidedly creepy vibe.

Things start getting curiouser and curiouser, and then scarier and scarier as Kentis and Lau up the ante on the tension, torquing it up to what was for me, at least, almost unbearable at times (by which I mean: I was hiding my eyes through much of it, scrunched down in my seat, and I may have squealed like a girl once or twice, much to the amusement of a couple of my male viewing partners). I’m not going to give away any more of the plot than that, you need to see this one for yourself — it’s wait-listed only at this point, though, so best of luck getting a ticket.

It’s just the kind of film that lends itself perfectly to the kind of viral marketing that made Paranormal Activity such a surprise success, and I expect it will, for the most part, be a huge Midnight crowd-pleaser and quite likely a buzz film at this year’s Sundance. Some might take issue with the twist it takes at the end, but it worked very well for me. If you’re in Park City, try to score yourself a ticket to see this one.

From Jordan Hoffman at says:

In Silent House, The Whole Audience Can Hear You Scream: Sundance horror pic turns a so-so story into a technical triumph

I’m an adult, so I know that movies are make believe.  I’ve also MADE MOVIES, so I know that behind every terrifying scene on screen is a table with crusty bagels and warm cream cheese.  But I’ll be damned if after 30 minutes of Silent House my heart rate wasn’t up.  After 60 minutes I was actually shouting out in startled terror.  By minute 75 of this 86 minute film I actually muttered, "that’s it" and put my hands over my eyes.

Directors Chris Kentis and Laura Lau (of Open Water fame) present Silent House in what truly feels like one take.  Are there hidden cuts?  There must be.  But I’ll take ’em at their word and say: wow.

Silent House really gives you a psychological workout.  At its zenith, it’s a vice grip.  So while the specifics of the jump scares aren’t that new (using a flash camera as sole light source) you are SO FREAKING WIRED BY THEN that you feel like you are going to pass out.

At least I did.  And the people around me.  We were all muttering "oh, sh*t" and "no, no" and the old classic "don’t go down there." 

In this regard, Silent House is a success.  It does have trouble spots.

Character motivation and story is tossed in at the end, along with an "aha!" twist.  I basically bought the twist, though other viewers may not be as forgiving.  Some blockheads may not even understand what’s going on.  (A woman behind actually shouted "oh!" thirty seconds before the credits, when her friend whispered in her ear.)

This is of little consequence.  One sees a film like Silent House to ask "how the hell did they deal with boom shadow?" and to experience it as a thrill park ride. You are caught up in knots and miserable in the duration, victorious with success at its close.  It’s a fun night out.

You will like this if you love jump scares, "how’d they do that" films and wanna see the Olsen Twins’ busty sister.

You won’t like this if you hate twist endings, are sick of haunted houses and don’t care how long they rehearsed.

And from Jordan Raup at Portfoli (The Film Stage):

Mary Kate and Ashley’s younger sister, Elizabeth Olsen, is unable to carry the film, marred by a script that plays through every horror cliché in the book. The first hour is so dull, that by the time things get slightly interesting (when some actually plot is worked out), it is too late.

And transcribed from the video version of the FilmStage review:

It kind of is gimmick for gimmick’s sake….Elizabeth Olsen….is kind of a hot commodity right now but she doesn’t really hold the weight of this picture….For a film where they’re focused on the gimmick they don’t really make it that interesting. The first hour is filled with cheap scares…The dialogue is so “we need to get this to Sundance by January.” …The twist – even though it kept my interest and it was better than when it started, I still didn’t really like the film…Didn’t live up to the hype.

From HitFix:

Evidently, [Chris Kentis and Laura Lau] were offered this remake mid-summer, and now they’re here at Sundance with it, the film already finished, and the room I saw the film in during the small hours of Friday morning was positively packed with buyers.  I would imagine someone’s going to pick this one up at some point this week, and if they make a smart deal in the process, they could make a fair amount of money with it.

The film is built on a foundation of secrets, of course, and one of the things the film does well is escalation. Building the right series of scares in the right sequence and milking each one to its maximum potential is the goal, and the film does it well on a mechanical level.  Not perfectly, but well. 

For the film to really pay off, we have to believe the choices that Sarah makes, and that’s the biggest problem in the film for me.  Some audience members will be frustrated by her near-determination to stay in the house long past the moment she should leave and never look back, and they should be.  It’s one of the most fundamental problems in horror films… how do you maintain the isolation or the seclusion or the claustrophobia without also denying the simple logic of what a real person would do.

The answer is that not everything you’re seeing is what you’re seeing, and without spoiling the film narratively, I’ll just say that the film tips its hand early.  I think they offer up the explanation to things pretty much from the moment the characters start talking and I wasn’t remotely surprised by the revelations the film had to offer. 

What kept me interested was the technical accomplishment, and even if you don’t like the script, you can’t outright dismiss what Chris Kentis has done here.  It’s an exceptionally well-choreographed film, and the idea of doing everything in one long uninterrupted take, making this a sort of "Russian ARRRRRGGGGH!", pays off in the way the film feels experiential. 

I remember seeing an early preview screening of "Jurassic Park," and during the T-Rex attack scene in the car, the temperature in the Alfred Hitchcock Screening Room on the Universal lot actually went up.  It was a purely primal physical reaction to what people were watching, and during this morning’s screening, the same thing happened.  There was a noticeable shift in temperature in the room, and people were having visceral, almost involuntary reactions to the tension level of the film.

I think the film’s narrative resolution is suitably unpleasant, but it’s also a fairly standard reveal.  I don’t think anyone will be shocked or surprised, and in a film that makes such an effort at being technically bold, I wish the script had matched it in innovation.

21 Jan 7.59pm GMT: From the Los Angeles Times:

“Silent House” debuted in the wee hours of Friday to a packed audience of media and buyer representatives (it has its first public screening Friday afternoon)…“Silent House” builds its scares steadily and relentlessly….Could “Silent House” spark a big sale and be on its way to a theater near you soon? The audience was certainly on the edge of its seat, and who doesn’t like a good scare?

ETA 21 Jan 3:20pm GMT: The first review I could find is out. From Entertainment Weekly:

Later, another ultra-low-budget movie went even darker. The creepy abandoned-home thriller Silent House playing a special midnight screening for festival volunteers (though the house was also packed with studio scouts trying to gauge whether the horror film could be another Paranormal Activity)…

What can’t be argued: all through the film, those seasoned industry execs were screaming and jumping like kids at a sleepover.


I happened to check the ESS Forum when I woke up, and people mentioned there was an unannounced screening yesterday (January 20th). So I checked in on twitter and found there was a midnight press screening that was just starting (7am GMT). Just checked twitter again a few hours later, and quick reviews are all over the place!

I’ll update this post more over the next few days as reviews become available.

Nothing yet mentioning Eric Sheffer Stevens (not sure how big his role is, though he’s billed #3 or 4 I think). But so far, a sampling of tweets:

@jambox er, I knew inside of me that I should had gone to bed rather than seeing Silent House…

Silent House is 109% journey, -9% destination. Gimmick’s just ok. And an interesting piece of female objectification… that means well.

So is SILENT HOUSE one if the scariest Sundance films ever or total rubbish? Consistency, Twitter!

Jeff Goldsmith
yogoldsmith Jeff Goldsmith
Silent House is intense. The setting is perfect & the fact the whole film is one shot (up 4 debate) makes it an immersive horror film. #fb

Ian Loring
Now intrigued by Silent House seeing @EricDSnider and @EricVespe have 2 such wildy different takes #sundance

That was fun. 2 tweet reviews of a sundance film, Silent House, within secs of each other. Wildly different opinions #whyfilmisgreat

tweet by Eric Vespe removed

SILENT HOUSE: a technical marvel, and one of the scariest movies I’ve ever seen at #Sundance. We’re off to a good start!

Gold Coast Int’l FF
Sundance update: First midnight movie is done. Horror film remake SILENT HOUSE, starring Elizabeth Olsen (yup…

Peter Sciretta
Silent House was heavy on suspense, great on a filmmaking level, full of horror cliches (purposefully?). I enjoyed it.

Eric Ditzian
BTW, "Silent House" ain’t great, but it scared the piss outta me. Won’t be able to sleep in our condo tonight. Thx midnight screening

Jordan Hoffman
I can’t lie, tho – Silent House scared me good a few times. Covered my eyes, even. #Sundance #wuss

Eric Ditzian
Based on her turn in "Silent House," Elizabeth Olsen is an actress to watch. Quite a performance in that horror flick #SundanceMTV

Jake Howell
Also caught SILENT HOUSE, which was pretty freaky. I want to know how they shot this film. It’s entirely one take, by the way. #Sundance

HitFixDaniel: Impressed by some of the technical things at work in "Silent House." Not interested or involved by…

Germain Lussier
Silent House – B. Legitimately scary haunted house story that moves between surprise and cliche a lot despite being only one take. #sundance

Raffi Asdourian
Silent House = super gimmicky, pulled out every horror cliche in the book. Elisabeth Olson, like her sisters, not a good actress. #Sundance

Well, silent house happened. #Sundance

Ben Shields Catlin
Just saw SILENT HOUSE from the directors of OPEN WATER and it scared the shit out of me for 83 of its 86 mins.

Jordan Raup
Silent House is the Citizen Kane of people slowly opening doors. It also mostly sucks. #Sundance

Audition Tape from Silent House

ETA 24 Jan, 12.09am: On LRO, an alert member posted a link to a YouTube video of actress Ramona Mallory’s audition for the part of Sarah in Silent House. Since it contains dialogue from the film (or similar to the final dialogue from the film), this video is likely to contain SPOILERS. Caveat viewer:

Could not parse XML from YouTube

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