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The Fire Within A Requiem for Katia and Maurice Krafft (2022) [Full Movie] [Watch Free Online]Full EP - Full
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00:00:23This film is in memory of Katja and Maurice Kraft.
00:00:28Volcanologists from the Alsace region in France.
00:00:34Almost everything that we are going to see is footage shot by them.
00:00:41There is something so awe-inspiring in it, so never seen before, that attracted me as a filmmaker.
00:00:50They lost their lives together, capturing the might of volcanoes.
00:00:55This is their legacy.
00:01:00The lives and the deaths of Katja and Maurice are documented in films and books,
00:01:06and this here is not meant to be another extensive biography.
00:01:12What I am trying to do here is to celebrate the wonder of their imagery.
00:01:39This here is Katja Kraft at a volcano in Iceland.
00:01:54And this is her husband, Maurice.
00:02:18This is Katja and Maurice.
00:02:20This is Katja and Maurice.
00:02:26This is Katja and Maurice.
00:02:33Elsa's Eastern France.
00:02:36Both were born in villages not far apart of each other,
00:02:41surrounded by vineyards with a deep tradition of unchanged peasant life.
00:02:48They were roaming the entire globe in pursuit of erupting volcanoes,
00:02:54but they would always return to the quiet landscape of their origin.
00:03:00Katja studied geochemistry at Strasbourg University with a goal to become a volcanologist.
00:03:08Shortly later, at the same university, Maurice began his studies in geology.
00:03:16The bug of volcanoes had been in him since he was seven when his parents took him to the Italian
00:03:23volcano Stromboli.
00:03:26Katja and Maurice met in Strasbourg in 1966 and never left each other ever after.
00:03:43This is the place of their death, the southern island of Kyushu in Japan, right in the middle of the
00:03:51volcano Mount Unzen.
00:03:54May 30th, 1991.
00:03:58The crafts arrived there on that day.
00:04:03The mountain had shown signs of a serious impending eruption.
00:04:10When they arrived near the volcano in a rented car, a friend and colleague, Harry Glicken, is with them.
00:04:20Japanese reporters, photographers, and TV crews are already there.
00:04:27This is the established viewing point for the media.
00:04:32Authorities have declared an evacuation advisory area some four kilometers distant from the crater.
00:04:39Its delineation and the movements of the crafts would later lead to lasting controversies.
00:04:48They were blamed for luring cameramen and journalists into a dangerous position.
00:04:54But these positions were taken days before the crafts arrived.
00:05:05Here, they make a first assessment of the situation.
00:05:10Small, so-called pyroclastic flows have occurred recently.
00:05:23The newspapers have reported about the pyroclastic flows, highly dangerous clouds of superheated particles and gases.
00:05:37Maurice is setting up his camera.
00:05:40He still shoots 16mm celluloid.
00:05:45The local TV crew now captures Katja, who is setting up the tripod for her photo camera.
00:06:12Maurice has problems with the battery of his zoom.
00:06:17The zoom doesn't work.
00:06:20I don't know why.
00:06:21I don't know why.
00:06:42The mountain is quiet.
00:06:45Nothing worth shooting right now.
00:06:48Katja, Maurice, and Glicken seem to be at ease.
00:06:53The Japanese media people are also oblivious of the impending doom.
00:07:03Whoever stayed here at this outpost, cameramen, reporters, and taxi drivers would be dead in a few days.
00:07:19Helicopters can be heard in the distance.
00:07:22They monitor the crater.
00:07:29Police is also present, maintaining the exclusion zone.
00:07:42Now, something important is coming.
00:07:46And if we stay on the top of this hill, it's possible about it.
00:07:50Maurice just hinted at moving their position onto a hill closer to the volcano.
00:07:58Apparently, this idea is taking root right now.
00:08:03If there is a road going there, Katja agrees.
00:08:07If you have a road, it's okay.
00:08:09And here, suddenly a small pyroclastic flow that will stop in the distance.
00:08:25And there is a lot to understand, to take pictures, and then to study the pictures.
00:08:31And also, we like very much to come in Japan because you have very good observatories and very good volcanologists.
00:08:39So we can learn a lot with them.
00:08:43At last, you can meet your friend, pyroclastic flow.
00:08:49But that was a very small one.
00:08:51Very small, yes.
00:08:52Very small.
00:08:53I hope you see bigger ones than this one.
00:08:55Because this is very small, really, yes.
00:08:58This is one of the smallest pyroclastic flow I have seen in my life.
00:09:06But yesterday's pyroclastic flow is very, very big one.
00:09:10And that is the biggest one.
00:09:13The cloud covers the full mountain.
00:09:17Oh, yes.
00:09:18Uh-huh.
00:09:18I would like to see this kind of thing, bigger, yes.
00:09:21Sure.
00:09:22But probably a whole part of the dome collapsed at this moment.
00:09:26So maybe it will need some hours or days to make a new dome that may collapse, part of the
00:09:37dome.
00:09:38Sure.
00:09:39This is exactly what would happen a few days later on June 3rd, the day they would perish.
00:09:47We hope always, but we cannot be sure and we don't know nothing.
00:09:52You have big blocks on the top and they have to come down, but when?
00:09:57We know that Katja had much deeper concerns about the dangers than she would admit on camera.
00:10:04In fact, there was a crisis in their relationship because Katja wanted to leave for the Philippines where the volcano
00:10:13Pinatubo was about to erupt.
00:10:16Maurice insisted he would stay no matter what and Katja stayed with him.
00:10:24I have seen so much eruptions in 23 years that even if I die tomorrow, I don't care.
00:10:39The crafts had a few narrow escapes in their lives.
00:10:43It was sheer luck.
00:10:45In 1983, they chartered a boat to approach Una Una volcano in Indonesia.
00:10:52The volcano had erupted, leaving destruction on this small island.
00:11:22It does not look good.
00:11:25Despite all science, volcanoes are still unpredictable.
00:11:31But Katja ventures out, exploring.
00:11:34Maurice following her with his camera.
00:11:37Teresa vitra-
00:11:39Prince Roberto-平成,
00:11:43Joseon Correa.
00:11:44Pacifica teaser camera.
00:13:59And then they come across some livestock left behind when the island was evacuated.
00:14:05The cows, thirsty and starving, seem to sense something.
00:14:15The goats look uneasy as well.
00:14:30And then there is a new eruption.
00:14:32They are menacing enough to make the crafts retreat.
00:14:36But they don't know what's coming very soon.
00:14:41Seeing Katja here taking her time and Maurice clearly still filming from the shore, we feel
00:14:48like carrying them up.
00:15:25They made it to safety.
00:15:27They made it to safety.
00:15:28There was no danger for them anymore.
00:15:30And then this, the entire island exploded.
00:15:36Later, Katja writes in her diary, we would have been cooked in a second.
00:15:51Three years later, 1986, the crafts were lucky again.
00:15:57A helicopter took them to the volcano St. Augustine in Alaska.
00:16:29I'm sorry, but it was a great deal.
00:16:33The
00:16:33The
00:16:33The
00:16:33The
00:16:33The
00:16:33The
00:16:33The
00:16:33I am going to get to
00:17:02the crater itself, a massive explosion released a gigantic pyroclastic flow. Inside the cloud,
00:17:11temperatures can reach way over 1000 degrees Fahrenheit and the cloud can travel its speeds
00:17:18up to 400 miles an hour. The strange thing is that what's coming at you is silent.
00:17:31The pyroclastic flow comes within about 100 feet of the camera but Maurice does not flee. He calmly
00:17:41keeps it in frame until he runs out of film. And Katja, who took this picture, doesn't flee either.
00:18:21It was a long way for the crafts to become the figures in
00:18:25their later films. This here is Iceland 1968. They did not do camera work themselves. All
00:18:35the early footage was shot by Roland Haas, who had formed a company with Maurice. Katja's
00:18:43and Maurice's roles were not defined yet. Maurice, still boyish, looks uncomfortable on camera.
00:18:53Katja appears to be aimless, just embellishing a shot. Most of the time, she disappears quickly.
00:19:091970, they were on the Italian island of Vulcano. The crater is inactive, except for some escaping steam.
00:19:22The film looks like home movies made by tourists. Everything is unspectacular.
00:19:33Their means of transportation are as primitive as it gets.
00:19:45What is interesting is that we see them doing scientific measurements. Maurice monitoring seismic
00:19:52activities and Katja measuring chemical compositions of gases.
00:20:12And here for the first time, we see Maurice doing something for the camera, yet to no avail.
00:20:44Volcanoes have a natural attraction. Tourists are climbing up the crater as well.
00:21:05A bold young lady makes it all the way up to the rim, in high heels and bikini.
00:21:20A bold young lady makes it all the way up to the rim, in high heels and bikini.
00:21:28We see them now arriving in their base camp at the bottom.
00:21:33Their life is documented as if they were tourists.
00:21:38The focus is on jam, bread and Italian sausage.
00:21:54Two years later, there is a shift.
00:21:57Now on the Italian volcano Stromboli, they come up with something that looks like out of a carnival.
00:22:05They brought along specially made helmets, rather grotesque.
00:22:10The idea behind it was protection against chunks of flying rocks.
00:22:17And now they stage it, fake it for the camera, they shoot several takes.
00:22:24Watch the guy in the background. I love his fake acting.
00:22:32Katja seems to be embarrassed, unconvinced.
00:22:41These helmets make your movements clumsy.
00:22:45No serious volcanologist ever used them and the crafts abandoned the idea quickly.
00:22:57Soon, the crafts were able to attract sponsors.
00:23:02They made an extensive expedition to Indonesia with a van and two smaller vehicles,
00:23:08all supported by the city of Moolhaus in Alsas.
00:23:16Maurice began a phase where he styled himself after the world-renowned underwater
00:23:22film maker Jacques Cousteau, wearing his trademark red woolen cap and smoking a pipe.
00:23:34The crafts apparently found it cool to use pathetic looking inflatable seats.
00:23:44Katja's role on camera was still diminished.
00:23:47Frequently, she would be used for scale.
00:23:51Here in Yosemite, she's hit by some drops of hot water.
00:23:57For the camera, they've repeated several times, all fake.
00:24:01What are they talking about, guys?
00:24:32Increasingly, they became filmmakers. From now on, we rarely ever see them doing science.
00:24:40They film others doing science.
00:24:59Katja becomes a sound recordist using state-of-the-art microphones and tape recorders.
00:25:12She also takes the role of photographer. Her pictures were published in magazines and a book.
00:25:20More than 400,000 pictures of hers are in the archive, enough to fill several more volumes.
00:25:30And here, like out of a fog, Maurice's real persona seems to emerge. The mask comes off. His face raw,
00:25:42grown up. Just him.
00:25:49And at the same time, as if out of nowhere, the images become grandiose. A great filmmaker is born.
00:26:01This is Iceland 1973. The small southern island of Heimei was surprised by a trench opening and spewing red-hot
00:26:12lava.
00:26:15Maurice captures here an apocalypse that we have never seen before on film.
00:26:32This is the film by The Mane.
00:26:33This is the film by The Mane.
00:26:35This is the film by The Mane.
00:27:51When looking at Maurice, right at the eruption, it seems that this is more than just a volcanic event.
00:27:59A fire within has taken hold of him.
00:28:03And it is certainly the same with Katja.
00:28:08She clearly expressed it in an interview.
00:28:11I cannot live without volcanoes.
00:28:36I cannot live without volcanoes.
00:28:42I cannot live without volcanoes.
00:29:05I cannot live without volcanoes.
00:29:07I cannot live without volcanoes.
00:29:09I cannot live without volcanoes.
00:29:20I cannot live without volcanoes.
00:29:22I cannot live without volcanoes.
00:29:39I cannot live without volcanoes.
00:30:13ORCHESTRA PLAYS
00:30:291980. Mount St. Helens in the state of Washington. In fact, this image was taken years before. The volcano still
00:30:38has its pointed peak covered in snow.
00:30:41A series of earthquakes and steam venting episodes beginning in March signaled a major event. Seismic recordings went wild.
00:30:57On May 18th at 8.32 in the morning, a magnitude 5.1 earthquake occurred. This triggered the largest landslide
00:31:08in recorded history and an explosion. The horizontal blast accelerated to 670 miles per hour.
00:31:20Within a radius of 8 miles, everything was obliterated. And up to a distance of 19 miles, the shockwave flattened
00:31:30every single tree.
00:31:40Katja and Maurice, having acquired a reputation to be the earliest on a scene, this time came a few days
00:31:48late.
00:31:52Katja and Maurice, approaching the zone of destruction. Everything looks normal. The forests are still standing.
00:32:03Then, 20 miles away from the volcano, first signs of devastation.
00:32:14Film you at the峰 not deep sea light.
00:32:16Film you at the峰 not deep sea light.
00:32:34The end of the day.
00:35:23They are no longer volcanologists.
00:35:26There are artists who carry us, the spectators, away in a realm of strange beauty.
00:35:33This is a vision that exists only in dreams.
00:35:37There is nothing more that should be said.
00:35:40We can only watch in awe.
00:35:43There is nothing more.
00:36:13There is nothing more.
00:37:28There is a fascination about the beauty of volcanoes, but they have caused terrible disasters.
00:37:36This is the summit of Nevado del Ruiz in Colombia.
00:37:40Its peak was covered with glaciers and snow that had accumulated for decades.
00:37:49At 9.09 p.m. on November 13, 1985, an eruption occurred.
00:37:56It was only 3% of what was ejected from Mount St. Helens.
00:38:02But the glowing lava and pyroclastic flows melted the ice almost instantly.
00:38:10The white summit turned dark.
00:38:13This was filmed by the crafts a few days after the event.
00:38:19And this is the flank of the mountain where the water and mud came down, growing larger and larger.
00:38:26So-called lahars formed.
00:38:35What we see here was filmed by the crafts years earlier in the Alps of Italy.
00:38:41It is completely unrelated to Nevado del Ruiz.
00:38:45But we can get an idea of what came down in Colombia.
00:38:52Water, eroded soil and dislodged rocks came sweeping down.
00:38:59However, the lahar in Colombia was 100 feet deep.
00:39:04It was 100 feet deep.
00:39:30It took more than an hour
00:39:31until it reached the town of Armero, some 30 miles away.
00:39:37By then, the huge stream had widened to a kilometer,
00:39:41sweeping through the town.
00:39:46Out of 29,000 inhabitants, over 20,000 of them perished.
00:39:55Only a few buildings on higher ground remained standing.
00:40:01This was the fourth deadliest disaster in recorded history.
00:40:09What we see here used to be the center of town.
00:40:15The power of the flood can be imagined by the size of boulders it carried along.
00:40:28There used to be a bridge here.
00:40:33These here are lucky survivors, lucky because no one was warned.
00:40:39The volcano had given signals so strong that later a volcanologist said,
00:40:46the volcano was screaming, I'm about to explode.
00:40:51After the eruption, there was more than an hour time until the flood hit the town.
00:40:59It would have taken most of the inhabitants just 200 meters to reach higher ground.
00:41:06We have to imagine the water rose higher than the bulldozers.
00:41:12The level of the mudflow reached almost to the top of the building in the background.
00:41:17And yet, a safe elevation is right behind.
00:41:23Here, we see the high bark of the mudflow.
00:41:40Days after the flood, the soft mud was still treacherous.
00:41:45It was 15 feet deep and had swallowed up cattle and humans alike.
00:41:52To cross it required some ingenuity.
00:42:30Over the remains of Armero hovered the stench of carrion.
00:42:36There was silence.
00:42:51Here, we can see cows that sank into the mud days ago.
00:42:56They are irretrievable.
00:42:58They will die here.
00:43:22And then, human remains.
00:43:26In the magnitude of the tragedy, they were still left where they died.
00:43:54The crafts wanted to see the source of the disaster, the summit of Nevada del Ruiz, over 17,000 feet
00:44:03high.
00:44:05This is where the flood had come down.
00:44:14The marks in the rock show the gigantic magnitude of the lahar.
00:44:31Peasants tried to reach cut-off villages that had suffered great loss of life as well.
00:44:42Bad visibility stopped Katja and Maurice from climbing higher.
00:44:49Turing away from the volcano, they focused their attention on the suffering of the survivors.
00:44:56And this marked a fundamental shift in their work.
00:45:00They were shocked by the failure to alert the local population.
00:45:06In order to raise awareness of the dangers of volcanoes, they were looking for media attention.
00:45:13And because of that, they increasingly became the daredevils.
00:45:18And parallel to that, their gaze became less scientific and more and more humanistic.
00:45:27CHOIR SINGS
00:45:28CHOIR SINGS
00:45:33CHOIR SINGS
00:45:50CHOIR SINGS
00:45:54CHOIR SINGS
00:46:01CHOIR SINGS
00:46:18CHOIR SINGS
00:46:48Oh
00:46:57The shift did not happen overnight, as can be seen in footage the crafts filmed in Indonesia
00:47:05the year before the tragedy of Armero.
00:47:09A volcanic eruption had obscured the sky.
00:47:14Day turned into night.
00:47:19These traffic scenes were shot at midday.
00:47:24It took hours until some light returned.
00:47:29Dust was everywhere, and a thought creeps up to me that we are watching a scenario of
00:47:36the future.
00:47:38Could this pollution happen without a volcano just caused by human behavior?
00:47:50Dustan Cruz.
00:48:05Dustan Cruz.
00:48:16Dustan Cruz.
00:48:32Dustan Cruz.
00:48:37Dustan Cruz.
00:48:37Dustan Cruz.
00:48:41Dustan Cruz.
00:48:52Dustan Cruz.
00:48:52Oh, oh, oh, oh.
00:49:22Oh, oh, oh, oh.
00:49:57Oh, oh, oh.
00:50:37Oh, oh, oh.
00:50:53Oh, oh, oh.
00:51:51Oh, oh, oh.
00:51:52Oh, oh, oh.
00:52:07Oh, oh, oh, oh.
00:52:15Oh, oh, oh, oh.
00:52:16Oh, oh, oh, oh.
00:52:43Oh, oh, oh.
00:53:10Oh, oh, oh, oh.
00:53:31Oh, oh, oh, oh, oh, oh.
00:53:58Oh, oh, oh, oh, oh.
00:54:02Oh, oh, oh, oh, oh.
00:54:31Oh, oh, oh, oh, oh, oh.
00:55:01Oh, oh, oh, oh, oh, oh.
00:55:04Oh, oh, oh, oh, oh, oh.
00:55:34Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
00:55:48oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
00:55:49oh, oh, oh.
00:55:53And then there is footage the crafts created that has no volcanoes in it.
00:55:59They followed their curiosity.
00:56:02They saw the world no one else had seen.
00:56:07They left behind a mosaic that is mysterious and stunningly original.
00:56:19The
00:56:20The
00:56:20The
00:56:20The
01:07:29there, but I would give much if I could have been their companion.
01:08:15This is what the Mexicans would call pura vida, life raw, intense, and pure, life with
01:08:25meaning at its fullest. We witness the travail of their voyages, cars, horses, and we pray
01:08:35the horses will make it.
01:09:05You left without telling me the reasons, and I asked myself what happened.
01:09:15The time was passing, and now you tell me that you want to come back.
01:09:29And you come to tell me your sadness, and you want to clarify the situation.
01:09:39You pretend that I forget the details, that I perdone everything, and we start again.
01:09:50Nobody knows what it has, until I have lost it.
01:09:59I have lost it.
01:10:05I have lost it.
01:10:08I have lost it.
01:10:10I have learned the lesson.
01:10:21I have lost it.
01:10:42I have learned everything.
01:10:49Y aprendiste la lección
01:10:53Nadie sabe lo que tiene
01:10:58Hasta que lo ve perdido
01:11:03Nunca tú debiste decidirlo
01:11:08Pues creo que eran cosas de los dos
01:11:14Nunca tú debiste decidirlo
01:11:18Pues mira, te aprendiste la lección
01:11:35Nunca tú debiste decidirlo
01:11:39Pues creo que eran cosas de los dos
01:11:44Nunca tú debiste decidirlo
01:11:50Pues mira, te aprendiste la lección
01:11:54Nadie sabe lo que tiene
01:12:30Hasta que lo ve perdido
01:12:30Ya sabes, cuando dicen
01:12:3220 parroclastic flows por día
01:12:34Tal vez dicen que es debido a la sensación
01:12:38Tal vez deciden los pequeños
01:12:40Solo, muy pequeños
01:12:41Maybe they don't really see THEM
01:12:42They're small ones
01:12:43They just the clouds
01:12:52Harry Glitton decides to make better use of his time
01:12:57he leaves the crafts with their cameras in order to study sediments in the river flowing from the
01:13:03volcano. His story is curious. He had unbelievable luck when Mount St. Helens exploded some 10 years
01:13:14prior. He held an observation outpost close to the volcano. After working six days straight,
01:13:23he had to leave for an interview with his university. His research advisor, despite safety concerns,
01:13:33volunteered to replace him at his post. This volunteer died in the cataclysm of that day.
01:13:42In the lottery of the universe, Harry Glicken this time would make his fatal move. He rejoined the
01:13:50crafts at their camera position and thus died with them.
01:14:02Up near the mountain, boredom has taken hold. Many of the camera people are sleeping.
01:14:17The volcano, only partially visible, is just quiet. Later we will learn that even this position,
01:14:27just outside the exclusion zone, is not safe. The pyroclastic flow will wipe it out as well.
01:14:40Only some locals make it to safety.
01:14:50And now what we see appears to be from a new vantage point. The Japanese cameraman who shot this image
01:15:00probably has joined the crafts to move into an advanced position. It was their last.
01:15:09What remains of the crafts are their amazing images.
01:15:39What remains of the collaborator, in the laboratory of miners Michael
01:15:43to their archive we discover images not only of volcanoes but landscapes that nobody has
01:15:51ever filmed like them.
01:16:03Some of it has a quality of dreams.
01:16:07Like in the biblical apocalypse, stones are raining from the sky.
01:16:48And rocks are giving up their assigned nature just to solidly sit there.
01:16:55They tumble.
01:17:01. . .
01:17:24And plants and creatures and our whole planet seem to be somewhere in the sky.
01:17:32. . .
01:17:34. . .
01:17:36. . .
01:17:37. . .
01:17:39. . .
01:17:42. . .
01:17:44. . .
01:17:45. . .
01:17:51. . .
01:17:54. . .
01:17:56. . .
01:17:57. . .
01:18:06. . .
01:18:08. . .
01:18:08. . .
01:18:10. . .
01:18:27Minutes away from the catastrophe, Mount Unzen has released a massive pyroclastic flow.
01:18:34. . .
01:18:34. .
01:18:38. .
01:18:39. . We have the radio contact of our Japanese cameraman with his base.
01:18:44. . .
01:18:44. .
01:18:47They order him to evacuate at once.
01:18:51He's afraid but still takes the time to wipe his lens.
01:19:01Only now he flees.
01:19:04And while he flees, he still keeps filming.
01:19:32And only moments later, the end.
01:19:35Mount Unsen explodes.
01:19:39A gigantic pyroclastic flow comes rushing down.
01:19:43No one in its part will survive.
01:20:12CHOIR SINGS
01:20:36CHOIR SINGS
01:20:51CHOIR SINGS
01:20:52The cameraman who fled reported that the crafts had been nearby.
01:20:57We thought we should revisit his footage.
01:21:03And here wasn't there something.
01:21:08Let's look at it again.
01:21:12Now zoom in.
01:21:13There is somebody.
01:21:15There are some figures.
01:21:18Could that be the crafts in Glicken?
01:21:20The probability is high.
01:21:24Does this here capture the very last moment of the crafts?
01:21:30We do know from the position their bodies were found, they were the closest to the volcano.
01:21:39There were survivors, but only those who were barely touched by the edges of the flow.
01:22:06The remains of Katya and Maurice were cremated in Japan and their ashes are buried here together in the grave.
01:22:15Of Katya's family.
01:22:18They are back now in Alsace, their home.
01:22:23In their lives together they walked along a precipice.
01:22:31In their love they became one.
01:22:34This shot was made by Maurice walking with the camera, the abyss too close.
01:22:42Katya must have held him so he wouldn't fall.
01:23:05Because of this unity and this togetherness, they were able to descend into the inferno and wrestle an image from
01:23:15God.
01:23:15And the very claws of the devil.
01:23:18And that is why I wanted to make this film for them.
01:23:27And that is why I WAS PAYED.
01:23:40Theרגmpd and the
01:23:44...
01:23:48...
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