Given the below context:  The Disasters of War (Spanish: Los desastres de la guerra) is a series of 82 prints created between 1810 and 1820 by the Spanish painter and printmaker Francisco Goya (1746–1828). Although Goya did not make known his intention when creating the plates, art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent Peninsular War of 1808–14 and the setbacks to the liberal cause following the restoration of the Bourbon monarchy in 1814. During the conflicts between Napoleon's French Empire and Spain, Goya retained his position as first court painter to the Spanish crown and continued to produce portraits of the Spanish and French rulers. Although deeply affected by the war, he kept private his thoughts on the art he produced in response to the conflict and its aftermath. He was in poor health and almost deaf when, at 62, he began work on the prints. They were not published until 1863, 35 years after his death. It is likely that only then was it considered politically safe to distribute a sequence of artworks criticising both the French and restored Bourbons. In total over a thousand sets have been printed, though later ones are of lower quality, and most print room collections have at least some of the set. The name by which the series is known today is not Goya's own. His handwritten title on an album of proofs given to a friend reads: Fatal consequences of Spain's bloody war with Bonaparte, and other emphatic caprices (Spanish: Fatales consequencias de la sangrienta guerra en España con Buonaparte, Y otros caprichos enfáticos). Aside from the titles or captions given to each print, these are Goya's only known words on the series. With these works, he breaks from a number of painterly traditions. He rejects the bombastic heroics of most previous Spanish war art to show the effect of conflict on individuals. In addition he abandons colour in favour of a more direct truth he found in shadow and shade.  Guess a valid title for it!
----
Answer: The Disasters of War


Given the below context:  In July 1985, Dallas electrician and rodeo cowboy Ron Woodroof is diagnosed with AIDS and given 30 days to live. He initially refuses to accept the diagnosis but remembers having unprotected sex with a woman who was an intravenous drug user a couple years prior. He is soon ostracized by family and friends who mistakenly believe he contracted AIDS from homosexual relations. He gets fired from his job, and is eventually evicted from his home. At the hospital, he is tended to by Dr. Eve Saks, who tells him that they are testing a drug called zidovudine, an antiretroviral drug which is thought to prolong the life of AIDS patients—and is the only drug approved by the Food and Drug Administration for testing on humans. Saks informs him that in the clinical trials, half the patients receive the drug and the other half a placebo, as this is the only way they can determine if the drug is working.  Guess a valid title for it!
----
Answer: Dallas Buyers Club


Given the below context:  Unlucky Bernie Lootz has little positive going for him: he lives in a dreary place—a  studio apartment in a run-down motel  near the Las Vegas Strip; he can't recall the last time he had physical contact with a woman; he's indebted to the Shangri-La casino boss Shelly Kaplow, who years earlier cured him of a gambling habit by breaking his kneecap. Kaplow had also paid Lootz's casino debts, and Bernie has been working off that large debt to Shelly for several years and the debt is nearly paid off. Lootz is weary of the casino business, and tells Kaplow he is leaving Las Vegas soon. His future success as a luck "cooler" is changed when cocktail waitress Natalie Belisario seemingly takes an interest in him, and his luck—and that of those around him—takes a turn for the better. What Bernie doesn't know yet is that Shelly has paid Natalie to seduce him into staying and working at the Shangri-La. What Shelly doesn't know is that Natalie actually has fallen in love with Bernie, and vice versa. Additional complications arise when Shelly, a relative old-timer who resents the Disneyfication of Vegas, resists the efforts of new Shangri-La owner advisers, including Ivy League graduate and condescending upstart Larry Sokolov, to update the casino hotel property and bring it into the 21st century. Lootz also learns his seldom-seen adult son is back in town, and, with his wife, is interfering with the operations at the Shangri-La. Though Shelly still has the backing of certain mob associates, such as gangster Nicky Fingers, the growing power of the new young Ivy League casino owners is lessening his power grip on the casino and the business he truly loves.  Guess a valid title for it!
----
Answer:
The Cooler