Problem: Given the question: Given the below context:  Two young American couples — Jeff and Amy, and Eric and Stacy — enjoy their vacation in Mexico. They meet Mathias, a German tourist, who is looking for his brother Heinrich. His last known location is an archaeological dig at a remote Mayan ruin in the jungle. They are also joined by Dimitri, Mathias's friend. The group reaches the ruins of a Mayan temple, and are confronted by Mayan villagers with guns and bows. Mathias tries to explain their purpose, but the villagers do not understand Spanish or English. When Amy accidentally touches some vines the villagers become increasingly agitated. Dimitri approaches the villagers, hoping to appease them, but they shoot and kill him. The rest of the group flees up the steps of the ruins. At the top, they find an abandoned camp and a shaft in the center. The group cannot call for help since Eric's phone has no signal. They hear a cell phone ringing from somewhere inside the ruins. Believing it is Heinrich's phone ringing, the rest of the group lowers Mathias down the shaft with a rope. The rope breaks and Mathias falls, becoming completely paralyzed. Amy and Jeff descend the temple steps hoping to reason with the Mayans, but to no success. In anger, Amy throws a clump of vines at them and hits a young boy, whom the Mayans promptly kill. They realize the Mayans are afraid of the vines, and won't let them go since they have touched them. Later, Stacy and Amy descend the shaft to help Mathias and to find the phone. Jeff and Eric rig a backboard and bring Mathias out of the shaft.  Guess a valid title for it!
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The answer is:
The Ruins (film)


input question: Given the below context:  Opeth recorded its debut album, Orchid, with producer Dan Swanö in April 1994. Because of distribution problems with the newly formed Candlelight Records, the album was not released until May 15, 1995, and only in Europe. Orchid tested the boundaries of traditional death metal, featuring acoustic guitars, piano, and clean vocals.After a few live shows in the United Kingdom, Opeth returned to the studio in March 1996 to begin work on a second album, again produced by Dan Swanö. The album was named Morningrise, and was released in Europe on June 24, 1996. With only five songs, but lasting 66 minutes, it features Opeth's longest song, the twenty-minute "Black Rose Immortal". Opeth toured the UK in support of Morningrise, followed by a 26-date Scandinavian tour with Cradle of Filth. While on tour, Opeth attracted the attention of Century Media Records, who signed the band and released the first two albums in the United States in 1997.In 1997, after the tour, Åkerfeldt and Lindgren dismissed De Farfalla for personal reasons, without the consent of Nordin. When Åkerfeldt informed Nordin, who was on a vacation in Brazil, Nordin left the band and remained in Brazil for personal reasons. Former Eternal members, drummer Martín López (formerly of Amon Amarth) and bassist Martín Méndez, responded to an ad at a music shop placed by Åkerfeldt. López and Méndez were fans of the band and took the ads down themselves so no other musicians could apply for the job. Åkerfeldt and Lindgren did not want the Martíns to join at first, due to them already knowing each other; they felt that they wanted two strangers so that there wouldn't be two camps in the band, but eventually hired both. López made his debut with Opeth playing on a cover version of Iron Maiden's "Remember Tomorrow", which was included on the album A Call to Irons: A Tribute to Iron Maiden.With a larger recording budget from Century Media, Opeth began work on its third album, with noted Swedish producer Fredrik Nordström, at Studio Fredman in August 1997. Although...  Guess a valid title for it!???
output answer: Opeth


Please answer this: Given the below context:  Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as "an epithalamium for a Habsburg Prince", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the "triumphal" tag, under Adolf Čech. The piece is now sometimes called the Festive Symphony. Smetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts. From 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning Má vlast in 1872. In his introduction to the Collected Edition Score, František Bartol brackets Má vlast with the opera Libuše as "direct symbols of [the] consummating national struggle". Má vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents "a cross-section of Czech...  Guess a valid title for it!
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Answer:
Bedřich Smetana