{"id":170820,"date":"2025-05-23T11:32:08","date_gmt":"2025-05-23T15:32:08","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=170820"},"modified":"2025-05-23T11:32:08","modified_gmt":"2025-05-23T15:32:08","slug":"two-new-movies","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/","title":{"rendered":"Two New Movies"},"content":{"rendered":"
\"\"<\/a>

Amalia Ulman\u2019s Magic Farm<\/em> (2025).<\/p><\/div>\n

Montreal\/Paris\/London\/New York\/Berlin\/Chicago\/Seoul\/Amsterdam\/Mexico City\/Tokyo\/Vancouver\/Los Angeles. In the Day-Glo light of the mid-aughts, that slogan of American soft power swung off canvas tote bags everywhere. The message was optimistic: the world has no boundaries\u2014at least, if you\u2019re wearing American Apparel.<\/p>\n

Magic Farm<\/em>, the sophomore work of Argentine director Amalia Ulman, is that millennial dream fruited and fermented. Her characters work at a VICE<\/em>-style gonzo web show, pal around with Chlo\u00eb Sevigny, and proudly blaze a trail through the world, totally unaware that the trail they\u2019re proudly blazing has already been paved and advertises Monday\u2013Friday street-side parking. <\/p>\n

Ulman\u2019s grifters end up in the Argentine countryside chasing a tip that doesn\u2019t exist. Quickly, they resolve to fabricate one\u2014unconcerned with the ethics behind writing their own reality and indifferent to the townspeople\u2019s actual lives, which, of course, have far more depth: the nearby farmland is routinely crop-dusted with a pesticide that\u2019s resulted in a sickly, cancer-addled population. The Americans despair over crushes, bugbites, jobs, and the imagined pain of creating something revelatory out of nothing. Can magic be manufactured? Or does it, like factory-farmed corn, salmon, or cattle, end up tasteless, even cancerous?<\/p>\n

Personal childhood heartthrob Alex Wolff (passing around a business card replete with the American Apparel font) swings between braggadocio and romantic ruin. Immediately, he is entranced by local soubrette Camila del Campo, a stunner who scampers up trees to post thirst traps. Chlo\u00eb, his more mature love interest, is the hostess of the show. She is paraded around by the traveling circus, desperately unhappy with the cage she built. Meanwhile, Joe Apollonio swoons in the presence of Guillermo Jacubowicz, the good-natured hotel owner, culminating in a sexually tense but doomed laundry-washing. As an actress, Ulman is the most reserved of the bunch, playing a pregnant translator caught between the locals and the Americans.<\/p>\n

As a director, Ulman is anything but reserved, excelling at tender moments of personal inadequacy, allowing characters to snip themselves down to the quick. She moves the camera with a sense of boundarylessness: the viewer is placed on the head of the dog, is shot into the air, and takes a ride around on a motorcycle. Unironically, boundarylessness is what killed American Apparel: their CEO, Dov Charney, was eventually ousted for sexual misconduct. The stores in Montreal\/Paris\/London\/New York\/Berlin\/Chicago\/Seoul\/etc. closed one at a time, and then suddenly. The world, after all, is not edgeless. Magic Farm<\/em>\u2019s hapless protagonists may be oblivious to their surroundings, determined to cocoon themselves in the safety of their own problems\u2014but, Ulman ensures, we are not.<\/p>\n

\u2014Nicolaia Rips<\/strong><\/p>\n

 <\/p>\n

In <\/span>The ADHD Muses<\/span><\/i>, Bernadette Van-Huy\u2014better known as the eponymous member of the art collective Bernadette Corporation\u2014takes on the \u201cfake theme\u201d of ADHD. As to what makes the theme \u201cfake,\u201d I\u2019m nonplussed. Perhaps it\u2019s just a refusal to commit to an idea. The movie starts with jazz, but it\u2019s all downhill from there.<\/span><\/p>\n

The test group for this ironically engaged theme\u2014which tracks with the collective\u2019s interest in pouring identities into prefabricated forms and isn<\/span>\u2019<\/span>t a terrible premise in the abstract\u2014are two young women whose lack of apparent talent isn\u2019t allowed to get in the way of the filmmaker\u2019s affectionate curiosity about them. One of them, Marika Thunder, is the daughter of painter Rita Ackermann, a longtime associate of the filmmaker\u2019s. A significant portion of the film is shot in what appears to be Ackermann\u2019s studio, where Thunder and Tessa Gourin, an aspiring actress, woodenly recite scenes from <\/span>Pulp Fiction <\/span><\/i>or a Christopher Walken monologue that, like the title <\/span>Annie Hall<\/span><\/i> scrawled on an otherwise blank wall, don\u2019t make themselves any more interesting than the average spazzed shoutout. Choppy editing doesn\u2019t make the film kinetic<\/span> or even lively. The older, figurative painter Eric Fischl gets name-checked\u2014I guess he\u2019s on the attention-deficit spectrum, as they say\u2014and it\u2019s a sign of how dull <\/span>The ADHD Muses<\/span><\/i>\u2019s proceedings are that I would have welcomed an interview about his dusty work by the time the <\/span>Mean Girls<\/span><\/i> scene recitations started.<\/span><\/p>\n

A long shot of Gourin walking along East Eighty-Sixth Street and interior-monologuing about her life so far and an extended studio visit with Thunder both fail to inspire. Gourin: \u201cA really interesting fact about me is I\u2019m always early.\u201d If there was a script for the film, SMALL TALK!<\/small> would be the header (and footer) on every page.<\/span>
\n<\/span><\/p>\n

The outro to the film features an omniscient narrator offering a curious meditation on clock time, implying a thematic connection to the women\u2019s personal orientations, but it\u2019s a little late to be retrospectively tacking on a long view that the director\u2019s subjects themselves lack. If there was a guiding concept behind the film, maybe it should have felt a bit more real to Van-Huy before she pressed RECORD<\/small><\/span>.<\/span><\/p>\n

\u2014Paige K. Bradley<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

On new films by Amalia Ulman and Bernadette Van-Huy.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[67827,883],"class_list":["post-170820","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-featured","tag-staff-picks"],"acf":[],"yoast_head":"\nTwo New Movies by The Paris Review<\/title>\n<meta name=\"description\" content=\"May 23, 2025 \u2013 On new films by Amalia Ulman and Bernadette Van-Huy.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Two New Movies by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"May 23, 2025 \u2013 On new films by Amalia Ulman and Bernadette Van-Huy.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2025-05-23T15:32:08+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/05\/magicfarm-still-03-1024x576.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"576\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"The Paris Review\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"The Paris Review\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Two New Movies\",\"datePublished\":\"2025-05-23T15:32:08+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/\"},\"wordCount\":855,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/05\/magicfarm-still-03-1024x576.png\",\"keywords\":[\"Featured\",\"staff picks\"],\"articleSection\":[\"The Review\u2019s Review\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/\",\"name\":\"Two New Movies by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/05\/magicfarm-still-03-1024x576.png\",\"datePublished\":\"2025-05-23T15:32:08+00:00\",\"description\":\"May 23, 2025 \u2013 On new films by Amalia Ulman and Bernadette Van-Huy.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/05\/magicfarm-still-03.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/05\/magicfarm-still-03.png\",\"width\":1920,\"height\":1080,\"caption\":\"Amalia Ulman\u2019s Magic Farm (2025).\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Two New Movies\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\",\"name\":\"The Paris Review\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"caption\":\"The Paris Review\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Two New Movies by The Paris Review","description":"May 23, 2025 \u2013 On new films by Amalia Ulman and Bernadette Van-Huy.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/","og_locale":"en_US","og_type":"article","og_title":"Two New Movies by The Paris Review","og_description":"May 23, 2025 \u2013 On new films by Amalia Ulman and Bernadette Van-Huy.","og_url":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2025-05-23T15:32:08+00:00","og_image":[{"width":1024,"height":576,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/05\/magicfarm-still-03-1024x576.png","type":"image\/png"}],"author":"The Paris Review","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"The Paris Review","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"Two New Movies","datePublished":"2025-05-23T15:32:08+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/"},"wordCount":855,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/05\/magicfarm-still-03-1024x576.png","keywords":["Featured","staff picks"],"articleSection":["The Review\u2019s Review"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/","url":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/","name":"Two New Movies by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/05\/magicfarm-still-03-1024x576.png","datePublished":"2025-05-23T15:32:08+00:00","description":"May 23, 2025 \u2013 On new films by Amalia Ulman and Bernadette Van-Huy.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/05\/magicfarm-still-03.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/05\/magicfarm-still-03.png","width":1920,"height":1080,"caption":"Amalia Ulman\u2019s Magic Farm (2025)."},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2025\/05\/23\/two-new-movies\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Two New Movies"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e","name":"The Paris Review","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","caption":"The Paris Review"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/170820","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=170820"}],"version-history":[{"count":4,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/170820\/revisions"}],"predecessor-version":[{"id":170885,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/170820\/revisions\/170885"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=170820"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=170820"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=170820"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}