"Our spy has a problem. Duty is more important than love." Cohen Media Group has debuted an official Us trailer for an indie from Palestine / Israeli titled Tel Aviv on Fire, the latest film from filmmaker Sameh Zoabi (Under the Same Sun). This premiered at the Venice Film Festival last fall, before going on a global tour to other fests including Tiff & Rotterdam. The comedy is about a young Palestinian man who becomes a writer on a popular soap opera in Tel Aviv. His creative career catches fire, until the check point guard and the show's financial backers disagree on how the soap opera should end. Starring Kais Nashif as Salam, along with Lubna Azabal, Yaniv Biton, Nadim Sawalha, Maïsa Abd Elhadi, Salim Daw, Yousef Sweid, Amer Hlehel, Ashraf Farah, and Laëtitia Eïdo. It seems quite clever and bold - worth a watch. Here's the official Us trailer (+ poster) for...
- 7/7/2019
- by Alex Billington
- firstshowing.net
Given how illuminating comedies about impossible situations can be, it’s a great pity so few deal with the Palestinian-Israeli conflict. When they do crop up, like “Tel Aviv on Fire,” reactions tend to be relief – “Finally we can laugh about this!” – or uncritical support coming from a well-meaning yet ultimately condescending place – “Isn’t it great these people can make a comedy!” Both responses will attach themselves to Sameh Zoabi’s genial satire about a Palestinian soap opera writer and the Israeli security officer who tries to influence the direction of a TV show’s plot. Fitfully amusing yet unable to withstand close inspection, the movie will be a popular item in festivals and showcases, though Israeli money means Arab play is impossible.
Zoabi’s imagining of the soap, itself called “Tel Aviv on Fire,” is the film’s masterstroke, reproducing all the outrageous plot twists and visual excesses of the genre.
Zoabi’s imagining of the soap, itself called “Tel Aviv on Fire,” is the film’s masterstroke, reproducing all the outrageous plot twists and visual excesses of the genre.
- 9/9/2018
- by Jay Weissberg
- Variety Film + TV
Usually found tracking down criminals and romancing Nathan Fillion’s Richard Castle in TV’s Castle, Stana Katic has used her hiatus from the show to seek out a little adventure. She’s co-starring with Raza Jaffrey in Amin Matalqa’s pic The Rendezvous. According to Deadline, the film – adapted from Sarah Isaias’ book A New Song – is in the style of movies such as Romancing The Stone and North By Northwest. It finds an unlikely pair racing to find a sacred Dead Sea Scroll hidden in the ancient city of Petra, Jordan. The cameras have already rolled on the movie, which also features Alfonso Bassave, Ron Guttman, Glenn Fleshler, Darby Stanchfield and Nadim Sawalha, and was shot on location.As to when the film will be out, that’s anyone’s guess, though it could show up before the end of the year. Katic will shortly be back on...
- 7/2/2015
- EmpireOnline
In 1999 the smash-hit East is East introduced us to the Khan family, and now, 11 years later they’re back, and this time its West is West.
We’ve managed to get our hands on the poster, so for an exclusive first- look, click here.
Manchester, England, 1976. The now much diminished, but still claustrophobic and dysfunctional, Khan family continues to struggle for survival. Sajid, the youngest Khan, the runt of the litter, is deep in pubescent crisis under heavy assault both from his father's tyrannical insistence on Pakistani tradition, and from the fierce bullies in the schoolyard. So in a last attempt to ‘sort him out’, his father decides to pack him off to Mrs Khan No 1 and family in the Punjab, the wife and daughters he had abandoned 30 years earlier. It is not long before Ella Khan [Mrs Khan No 2], with a small entourage from Salford, England, swiftly follows to sort out the mess,...
We’ve managed to get our hands on the poster, so for an exclusive first- look, click here.
Manchester, England, 1976. The now much diminished, but still claustrophobic and dysfunctional, Khan family continues to struggle for survival. Sajid, the youngest Khan, the runt of the litter, is deep in pubescent crisis under heavy assault both from his father's tyrannical insistence on Pakistani tradition, and from the fierce bullies in the schoolyard. So in a last attempt to ‘sort him out’, his father decides to pack him off to Mrs Khan No 1 and family in the Punjab, the wife and daughters he had abandoned 30 years earlier. It is not long before Ella Khan [Mrs Khan No 2], with a small entourage from Salford, England, swiftly follows to sort out the mess,...
- 12/15/2010
- by tegan.kniveton@lovefilm.com (Tegan Kniveton)
- LOVEFiLM
Movies from Jordan rarely make their way to the Us, so let's be thankful for "Captain Abu Raed," written and directed by Amin Matalqa, who was born in Jordan and grew up in the Us.
Nadim Sawalha provides a sweet and moving performance as the titular character, a janitor at the Amman airport who finds an airline captain's hat in the trash.
Wearing the hat home, Abu Raed is mistaken for a real pilot by children in his poor neighbor.
At first he protests, but finally gives in and...
Nadim Sawalha provides a sweet and moving performance as the titular character, a janitor at the Amman airport who finds an airline captain's hat in the trash.
Wearing the hat home, Abu Raed is mistaken for a real pilot by children in his poor neighbor.
At first he protests, but finally gives in and...
- 8/14/2009
- by By V.A. MUSETTO
- NYPost.com
- Newbie distribution company NeoClassics Films are latching onto a film that ever since its preem at Sundance has played extremely well on the film festival circuit – and additionally, and this comes as a surprise -- has been selected as it’s country’s (Jordan) first ever (!) bid for the Best Foreign film category. I'm aware that some places on this earth are movie-producing nations, but I'm sure that Jordan has had at least one example of a film worthy of international audiences before 2008? THR reports that the indie distributor picked up the North American, U.K., Australian and South African rights to Captain Abu Raed by writer-director Amin Matalqa. Winner of the Dramatic World Cinema Audience Award in Park City, this centers on an airport janitor (Nadim Sawalha) mistaken for a pilot by children in his poor Jordanian neighborhood. His fictional tales of adventures around the world inspire them.
- 11/6/2008
- IONCINEMA.com
Santa Monica -- NeoClassics Films has nabbed North American, U.K., Australian and South African rights to "Captain Abu Raed," Jordan's first-ever entry in the best foreign-language film Oscar race.
Writer-director Amin Matalqa won this year's Dramatic World Cinema Audience Award at Sundance and several other fest honors, making it a prime catch on Fortissimo Films' awards-bait Afm slate. The Canada-based NeoClassics will distribute the film through its U.S. theatrical distribution arm early next year and rep sales for its other territories.
The film centers on an airport janitor (Nadim Sawalha) mistaken for a pilot by children in his poor Jordanian neighborhood. His fictional tales of adventures around the world inspire them.
Writer-director Amin Matalqa won this year's Dramatic World Cinema Audience Award at Sundance and several other fest honors, making it a prime catch on Fortissimo Films' awards-bait Afm slate. The Canada-based NeoClassics will distribute the film through its U.S. theatrical distribution arm early next year and rep sales for its other territories.
The film centers on an airport janitor (Nadim Sawalha) mistaken for a pilot by children in his poor Jordanian neighborhood. His fictional tales of adventures around the world inspire them.
- 11/5/2008
- by By Gregg Goldstein
- The Hollywood Reporter - Movie News
Sundance Film Festival
PARK CITY -- Middle Eastern cinema has been thriving recently, with strong entries from Israel, Lebanon, and Iran. Now one of the first films from Jordan to enter the international arena has its premiere at Sundance. Captain Abu Raed belies the inexperience of its makers, for it's a substantial, deeply moving film that has the potential to captivate audiences everywhere. If it finds a savvy distributor willing to handle it with the loving care it deserves, it could click on the arthouse circuit.
Writer-director Amin Matalqa was born in Jordan but grew up in the U.S. and studied film at the American Film Institute in Los Angeles. He was determined to make his feature directorial debut on a story filmed in Jordan. His protagonist, Abu Raed (Nadim Sawalha), is a widower and a janitor in the Amman airport. He has never left Jordan but dreams of traveling the world. When some of the young boys in the shabby apartment complex where he lives notice him wearing a pilot's hat, they assume he is a pilot and beg him to recount his adventures. Reluctant at first, Abu Raed eventually decides to humor the boys and indulge some of his own daydreams by spinning tales of fictitious travels. But an older neighborhood boy, Murad (Hussein Al-Sous), is suspicious of Abu Raed and eventually finds out the truth and exposes him. There is a heartbreaking moment when Murad takes the other boys to the airport, where they see Abu Raed cleaning the floor; the look of disillusionment on their faces is beautifully caught. Yet that is just the beginning of the story, for the antagonists Murad and Abu Raed eventually form an alliance that changes both of their lives.
Matalqa incorporates a wealth of revealing character details. At the beginning Abu Raed lives a narrow, sheltered life. When he hears a violent domestic dispute in a nearby apartment, he merely closes the window. The dispute is taking place in Murad's apartment. He lives with an abusive father, and this toxic environment has fostered Murad's cynicism.
Both Murad and Abu Read are gradually and believably transformed by their encounter. Abu Raed fnds the courage to take a stand, while Murad learns to trust and respect the older man. A subplot concerns a female pilot, Nour (Rana Sultan), who befriends Abu Raed. She has to contend with her parents' determination to marry her off to men who bore her. All of the characters are observed with affection and precision. Even Murad's abusive father is presented in three dimensions; we see that his own failures at work lead him to lash out at the people closest to him.
Performances are superb. Sawalha captures the dignity of Abu Raed without turning him into a plaster saint. In fact, it's clear that in trying to improve the lives of the local kids, he sometimes blunders and makes things worse. But Sawalha illuminates his humility and understated nobility. Al-Sous has a wonderfully expressive face, and Sultan radiates intelligence and quiet strength.
Working with cinematographer Reinhart Peschke, Matalqa makes excellent use of the Jordanian locations. One false note is struck by the music composed by Austin Wintory. It sounds too Western and sometimes falls into sentimentality. The film is too potent to need such underlining. Matalqa has crafted a stirring tribute to the invisible people in our world who may end up changing our lives more profoundly than high-profile leaders. Nothing is more difficult than making an honest film about a good man, but Captain Abu Raed accomplishes the feat.
CAPTAIN ABU RAED
Paper & Pen Films
Gigapix Studios
Credits: Writer-Director: Amin Matalqa
Producers: Kenneth Kokin, Nadine Toukan, Laith Al-Majali, Amin Matalqa
Executive producers: David Pritchard, Aida Jabaji Matalqa, Isam Salfiti
Director of photography: Reinhart Peschke
Production designer: Gerald Sullivan
Music: Austin Wintory
Co-producers: Chris Blauvelt, Chris Corabi
Costume designer: Jamila Alaeddin
Editor: Laith Al-Majali.
Cast:
Abu Raed: Nadim Sawalha
Nour: Rana Sultan
Murad: Hussein Al-Sous
Tareq: Udey Al-Qiddissi
Abu Murad: Ghandi Saber
Um Murad: Dina Ra'ad-Yaghnam
Hilal: Mohammad Quteishat
Sameh: Nadim Mushahwar
Ziad: Faisal Majali
Running time -- 105 minutes
No MPAA rating...
PARK CITY -- Middle Eastern cinema has been thriving recently, with strong entries from Israel, Lebanon, and Iran. Now one of the first films from Jordan to enter the international arena has its premiere at Sundance. Captain Abu Raed belies the inexperience of its makers, for it's a substantial, deeply moving film that has the potential to captivate audiences everywhere. If it finds a savvy distributor willing to handle it with the loving care it deserves, it could click on the arthouse circuit.
Writer-director Amin Matalqa was born in Jordan but grew up in the U.S. and studied film at the American Film Institute in Los Angeles. He was determined to make his feature directorial debut on a story filmed in Jordan. His protagonist, Abu Raed (Nadim Sawalha), is a widower and a janitor in the Amman airport. He has never left Jordan but dreams of traveling the world. When some of the young boys in the shabby apartment complex where he lives notice him wearing a pilot's hat, they assume he is a pilot and beg him to recount his adventures. Reluctant at first, Abu Raed eventually decides to humor the boys and indulge some of his own daydreams by spinning tales of fictitious travels. But an older neighborhood boy, Murad (Hussein Al-Sous), is suspicious of Abu Raed and eventually finds out the truth and exposes him. There is a heartbreaking moment when Murad takes the other boys to the airport, where they see Abu Raed cleaning the floor; the look of disillusionment on their faces is beautifully caught. Yet that is just the beginning of the story, for the antagonists Murad and Abu Raed eventually form an alliance that changes both of their lives.
Matalqa incorporates a wealth of revealing character details. At the beginning Abu Raed lives a narrow, sheltered life. When he hears a violent domestic dispute in a nearby apartment, he merely closes the window. The dispute is taking place in Murad's apartment. He lives with an abusive father, and this toxic environment has fostered Murad's cynicism.
Both Murad and Abu Read are gradually and believably transformed by their encounter. Abu Raed fnds the courage to take a stand, while Murad learns to trust and respect the older man. A subplot concerns a female pilot, Nour (Rana Sultan), who befriends Abu Raed. She has to contend with her parents' determination to marry her off to men who bore her. All of the characters are observed with affection and precision. Even Murad's abusive father is presented in three dimensions; we see that his own failures at work lead him to lash out at the people closest to him.
Performances are superb. Sawalha captures the dignity of Abu Raed without turning him into a plaster saint. In fact, it's clear that in trying to improve the lives of the local kids, he sometimes blunders and makes things worse. But Sawalha illuminates his humility and understated nobility. Al-Sous has a wonderfully expressive face, and Sultan radiates intelligence and quiet strength.
Working with cinematographer Reinhart Peschke, Matalqa makes excellent use of the Jordanian locations. One false note is struck by the music composed by Austin Wintory. It sounds too Western and sometimes falls into sentimentality. The film is too potent to need such underlining. Matalqa has crafted a stirring tribute to the invisible people in our world who may end up changing our lives more profoundly than high-profile leaders. Nothing is more difficult than making an honest film about a good man, but Captain Abu Raed accomplishes the feat.
CAPTAIN ABU RAED
Paper & Pen Films
Gigapix Studios
Credits: Writer-Director: Amin Matalqa
Producers: Kenneth Kokin, Nadine Toukan, Laith Al-Majali, Amin Matalqa
Executive producers: David Pritchard, Aida Jabaji Matalqa, Isam Salfiti
Director of photography: Reinhart Peschke
Production designer: Gerald Sullivan
Music: Austin Wintory
Co-producers: Chris Blauvelt, Chris Corabi
Costume designer: Jamila Alaeddin
Editor: Laith Al-Majali.
Cast:
Abu Raed: Nadim Sawalha
Nour: Rana Sultan
Murad: Hussein Al-Sous
Tareq: Udey Al-Qiddissi
Abu Murad: Ghandi Saber
Um Murad: Dina Ra'ad-Yaghnam
Hilal: Mohammad Quteishat
Sameh: Nadim Mushahwar
Ziad: Faisal Majali
Running time -- 105 minutes
No MPAA rating...
- 1/22/2008
- The Hollywood Reporter - Movie News
Hollywood is in a born-again mode with its rediscovery that Biblical epics can bring manna at the boxoffice. In New Line Cinema's "The Nativity Story" we have the first smart, artistically and spiritually satisfying film to emerge from this trend. The familiar story, iconic aspects of which will decorate many front lawns during the next few weeks, unfolds in a scrupulously accurate historical adventure story that depicts the world of Jesus' birth with an exciting you-are-there verisimilitude.
Young Keisha Castle-Hughes (an Oscar nominee for "Whale Rider") plays not so much the Virgin Mary but a gutsy young woman born to an honorable though struggling Jewish family in Nazareth, who handles miracles and hardships with a tough-minded spirit. When a diaphanous Archangel Gabriel puts in appearances, we're clearly in the realm of mythology. But the movie, written by Mike Rich and directed by Catherine Hardwicke, sticks as close as possible to a realistic account of the Christ child's birth.
The faithful will flock to this well-told tale -- and DVD sales will be formidable -- but there is room at the inn for nonbelievers, who appreciate a good story told with cinematic flair. Because most "Christmas movies" these days are mean spirited -- i.e., "Deck the Halls" -- "Nativity" is positively refreshing.
Hardwicke has directed the teens-on-the-edge-of-disaster drama "thirteen" and the Venice skateboard film "Lords of Dogtown", neither of which prepares us for her stepping into the scandals of Cecil B. DeMille. But step she does with remarkable assuredness and sensitivity. She and Rich shake off any qualms they might have entertained about retelling a Sunday school story and go for the inherent drama of an epic about sacrifice and destiny.
At the time of Jesus' birth, the Holy Land was a fearful place, occupied by arrogant Roman soldiers under the command of King Herod, a client of Caesar Augustus. Yet the king quakes in morbid fear of the Old Testament prophecy of a Messiah, who will overthrow his rule, even to the point of ordering the slaughter of all male children, under 2 years of age, in the city of Bethlehem.
The movie retreats one year to account for this drastic action. In Nazareth, a city hounded by the king's tax collectors, economic necessity forces Anna (Hiam Abbass) and Joaquim (Shaun Toub) to tell their daughter Mary (Castle-Hughes) they have arranged her marriage to "a good man" named Joseph (Oscar Isaac). Troubled by this news, she retreats to an olive grove where the angel Gabriel Alexander Siddig) appears and tells her that the Holy Spirit will cause her to bear a son she will name Jesus, who will be mankind's savior.
Her aging cousin Elizabeth (Oscar-nominee Shohreh Aghdashloo) is experiencing a similar miracle, newly pregnant by her equally ancient husband Zechariah (Stanley Townsend), a priest. Mary convinces her parents to allow her to visit the pious couple to sort out her life. It is here she experiences the Immaculate Conception.
But returning to her hometown clearly pregnant, she puts her new husband in a moral dilemma. No one in town, not even her parents, believe her story about angels and conception. In many ways, it is Joseph who is the real hero of this story, a man who stoically accepts a role that in many eyes brands him a cuckold. Some of the movie's best passages survey his evolving spiritual awareness of this role.
Meanwhile, in Persia, three Magi -- Melchoir (Nadim Sawalha) the scholar, Gasper (Stepan Kalipha) the translator and Balthasar (Eriq Ebouaney) the confident Ethiopian astronomer -- study celestial charts and maps to discover that the signs of the Messiah's coming are unmistakable. Melchoir convinces his reluctant companions to undertake the hazardous journey through the wilderness to witness the child's entry into the world.
The film follows these story lines, paying close attention to details. This ancient world -- its flowing clothes, stone houses, scattered settlements and vast, forbidding deserts -- displays harmonious, earthen colors that delight the eye in Elliot Davis' subtle cinematography. Here we witness the close proximity of mankind with their livestock. And the spiritual awareness of a people, subjugated by foreign troops, dominates all thought and action.
The film's locations -- Matera, Italy; Morocco; and Israel -- supply amazing terrain, while production designer Stefano Maria Ortolani dresses real locations and sets that make this world come vibrantly alive. Stables are cramped, filthy places; a river crossing invites disaster; wise men weary of the journey; and treachery lurks everywhere. Mychael Danna's music is a major plus as it underscores rather than overrides the film's emotions.
THE NATIVITY STORY
New Line Cinema
A Temple Hill production
Credits: Director: Catherine Hardwicke
Screenwriter: Mike Rich
Producers: Wyck Godfrey, Marty Bowen
Executive producer: Toby Emmerich, Cale Boyter, Tim Van Rellim, Mike Rich, Catherine Hardwicke
Director of photography: Elliot Davis
Production designer: Stefano Maria Ortolani
Music: Mychael Danna
Costume designer: Maurizio Millenotti
Editor: Robert K. Lambert, Stuart Levy
Cast:
Mary: Keisha Castle-Hughes
Joseph: Oscar Isaac
Anna: Hiam Abbass
Joaquim: Shaun Toub
Archangel Gabriel: Alexander Siddig
Melchoir: Nadim Sawalha
Balthasar: Eriq Ebouaney
Gaspar: Stefan Kalipha
King Herod: Ciaran Hinds
Elizabeth: Shohreh Aghdashloo
Running time -- 102 minutes
MPAA rating: PG...
Young Keisha Castle-Hughes (an Oscar nominee for "Whale Rider") plays not so much the Virgin Mary but a gutsy young woman born to an honorable though struggling Jewish family in Nazareth, who handles miracles and hardships with a tough-minded spirit. When a diaphanous Archangel Gabriel puts in appearances, we're clearly in the realm of mythology. But the movie, written by Mike Rich and directed by Catherine Hardwicke, sticks as close as possible to a realistic account of the Christ child's birth.
The faithful will flock to this well-told tale -- and DVD sales will be formidable -- but there is room at the inn for nonbelievers, who appreciate a good story told with cinematic flair. Because most "Christmas movies" these days are mean spirited -- i.e., "Deck the Halls" -- "Nativity" is positively refreshing.
Hardwicke has directed the teens-on-the-edge-of-disaster drama "thirteen" and the Venice skateboard film "Lords of Dogtown", neither of which prepares us for her stepping into the scandals of Cecil B. DeMille. But step she does with remarkable assuredness and sensitivity. She and Rich shake off any qualms they might have entertained about retelling a Sunday school story and go for the inherent drama of an epic about sacrifice and destiny.
At the time of Jesus' birth, the Holy Land was a fearful place, occupied by arrogant Roman soldiers under the command of King Herod, a client of Caesar Augustus. Yet the king quakes in morbid fear of the Old Testament prophecy of a Messiah, who will overthrow his rule, even to the point of ordering the slaughter of all male children, under 2 years of age, in the city of Bethlehem.
The movie retreats one year to account for this drastic action. In Nazareth, a city hounded by the king's tax collectors, economic necessity forces Anna (Hiam Abbass) and Joaquim (Shaun Toub) to tell their daughter Mary (Castle-Hughes) they have arranged her marriage to "a good man" named Joseph (Oscar Isaac). Troubled by this news, she retreats to an olive grove where the angel Gabriel Alexander Siddig) appears and tells her that the Holy Spirit will cause her to bear a son she will name Jesus, who will be mankind's savior.
Her aging cousin Elizabeth (Oscar-nominee Shohreh Aghdashloo) is experiencing a similar miracle, newly pregnant by her equally ancient husband Zechariah (Stanley Townsend), a priest. Mary convinces her parents to allow her to visit the pious couple to sort out her life. It is here she experiences the Immaculate Conception.
But returning to her hometown clearly pregnant, she puts her new husband in a moral dilemma. No one in town, not even her parents, believe her story about angels and conception. In many ways, it is Joseph who is the real hero of this story, a man who stoically accepts a role that in many eyes brands him a cuckold. Some of the movie's best passages survey his evolving spiritual awareness of this role.
Meanwhile, in Persia, three Magi -- Melchoir (Nadim Sawalha) the scholar, Gasper (Stepan Kalipha) the translator and Balthasar (Eriq Ebouaney) the confident Ethiopian astronomer -- study celestial charts and maps to discover that the signs of the Messiah's coming are unmistakable. Melchoir convinces his reluctant companions to undertake the hazardous journey through the wilderness to witness the child's entry into the world.
The film follows these story lines, paying close attention to details. This ancient world -- its flowing clothes, stone houses, scattered settlements and vast, forbidding deserts -- displays harmonious, earthen colors that delight the eye in Elliot Davis' subtle cinematography. Here we witness the close proximity of mankind with their livestock. And the spiritual awareness of a people, subjugated by foreign troops, dominates all thought and action.
The film's locations -- Matera, Italy; Morocco; and Israel -- supply amazing terrain, while production designer Stefano Maria Ortolani dresses real locations and sets that make this world come vibrantly alive. Stables are cramped, filthy places; a river crossing invites disaster; wise men weary of the journey; and treachery lurks everywhere. Mychael Danna's music is a major plus as it underscores rather than overrides the film's emotions.
THE NATIVITY STORY
New Line Cinema
A Temple Hill production
Credits: Director: Catherine Hardwicke
Screenwriter: Mike Rich
Producers: Wyck Godfrey, Marty Bowen
Executive producer: Toby Emmerich, Cale Boyter, Tim Van Rellim, Mike Rich, Catherine Hardwicke
Director of photography: Elliot Davis
Production designer: Stefano Maria Ortolani
Music: Mychael Danna
Costume designer: Maurizio Millenotti
Editor: Robert K. Lambert, Stuart Levy
Cast:
Mary: Keisha Castle-Hughes
Joseph: Oscar Isaac
Anna: Hiam Abbass
Joaquim: Shaun Toub
Archangel Gabriel: Alexander Siddig
Melchoir: Nadim Sawalha
Balthasar: Eriq Ebouaney
Gaspar: Stefan Kalipha
King Herod: Ciaran Hinds
Elizabeth: Shohreh Aghdashloo
Running time -- 102 minutes
MPAA rating: PG...
- 11/22/2006
- The Hollywood Reporter - Movie News
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