Problem: Given the below context:  Lyon Gaultier is a paratrooper in the French Foreign Legion, stationed in Djibouti, North Africa. His brother, who is married to an American woman in Los Angeles, is burned alive during a drug deal gone wrong and suffers third-degree burns, dying shortly afterward. Lyon deserts his legion when he finds out they have been withholding letters from his brother's wife and ultimately refuse to let him see his dying brother. He steals a jeep and escapes through the desert, finding work on a tramp steamer headed for the U.S. Meanwhile, the Legion Commandant travels to Paris, arriving at the government Consulate, where he is told that Lyon's desertion is ranked at low importance with the LAPD, so the Commandant suggests sending two of his own men to bring Gaultier back, which is approved. Lyon arrives pennyless in New York City and is attracted to an illegal street fighting match that is being run by a New Yorker called Joshua, a man who runs fights for money. Gaultier steps forward to take part in the next fight and destroys his opponent, leaving Joshua looking astounded at what he just saw. Joshua takes Lyon to meet a person called Cynthia, also known as 'The Lady' who organizes underground fights for the rich elite and she decides to sponsor him. Figuring that this would be the best way to earn the money he needs to get to L.A., Lyon fights in a no-holds-barred bare-knuckle fights to finance the trip. Once in L.A. Lyon goes to the hospital where his brother was taken. He learns that he cannot avenge his brother's murder, as he failed to identify his killers before dying. Grief-stricken, Lyon asks the help of Joshua who tracks down his brother's widow's address. However she refuses to accept any financial aid from him, even though she obviously needs it, because she is angry with Lyon for "deserting" his brother years ago. She threatens to call the cops and Lyon has no choice but to leave.  Guess a valid title for it!

A: Lionheart (1990 film)


Problem: Given the below context:  Between 1847 and 1850, when Blore was building the new east wing, the Brighton Pavilion was once again plundered of its fittings. As a result, many of the rooms in the new wing have a distinctly oriental atmosphere. The red and blue Chinese Luncheon Room is made up from parts of the Brighton Banqueting and Music Rooms with a large oriental chimney piece designed by Robert Jones and sculpted by Richard Westmacott. It was formerly in the Music Room at the Brighton Pavilion. The ornate clock, known as the Kylin Clock, was made in Jingdezhen, Jiangxi Province, China, in the second half of the 18th century; it has a later movement by Benjamin Vulliamy circa 1820. The Yellow Drawing Room has wallpaper supplied in 1817 for the Brighton Saloon, and a chimney piece which is a European vision of how the Chinese chimney piece may appear. It has nodding mandarins in niches and fearsome winged dragons, designed by Robert Jones.At the centre of this wing is the famous balcony with the Centre Room behind its glass doors. This is a Chinese-style saloon enhanced by Queen Mary, who, working with the designer Sir Charles Allom, created a more "binding" Chinese theme in the late 1920s, although the lacquer doors were brought from Brighton in 1873. Running the length of the piano nobile of the east wing is the great gallery, modestly known as the Principal Corridor, which runs the length of the eastern side of the quadrangle. It has mirrored doors, and mirrored cross walls reflecting porcelain pagodas and other oriental furniture from Brighton. The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room obviously placed in the centre.The original early 19th-century interior designs, many of which still survive, included widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long. King Edward VII oversaw a partial redecoration in a Belle époque cream and gold colour scheme.When paying a state visit to Britain, foreign heads of state...  Guess a valid title for it!

A: Buckingham Palace


Problem: Given the below context:  The Annunciation draws heavily on van der Weyden's 1430s Louvre Annunciation, his c. 1455  Saint Columba altarpiece, and the Clugny Annunciation (c. 1465–75), which is attributed to either van der Weyden or Memling. Memling almost certainly was apprenticed to van der Weyden in Brussels until setting up his own workshop in Bruges sometime after 1465. Memling's Annunciation is more innovative, with motifs such as the attendant angels that were absent in the earlier paintings. According to Till-Holger Borchert, not only was Memling familiar with van der Weyden's motifs and compositions, but he might have assisted with the underdrawing in van der Weyden's workshop. The shutters on the right are copied from the Louvre panel, the knotted curtain appears in the Columba triptych's "Annunciation".A sense of movement is conveyed throughout. The trailing edges of Gabriel's garment fall outside the pictorial space, indicating his arrival. The Virgin's "serpentine" pose, with attendant angels supporting her, adds to the sense of flow. Memling's use of color achieves a startling effect. The traditional rays of light are replaced with light color indicators; the white clothes rendered in "icy" blue, the angel to the right in yellow patches seems "bleached by light", the left-hand angel appears to be steeped in shadow, dressed in clothes of lavender and bearing deep green wings. The effect is iridescent, according to Blum, who writes, "this shimmering surface gives [the figures] an unearthly quality, separating them from the more believable world of the bedchamber." The effect deviates from the pure naturalism and realism which typifies Early Netherlandish art, causing a "startling" juxtaposition, an effect that is "unsteadying" and contradictory.  Guess a valid title for it!

A:
Annunciation (Memling)