Given the below context:  The panel has at various times been attributed to van der Goes and van Eyck, but was recognized as by Memling as early as the time of the seminal 1902 exhibition Exposition des primitifs flamands à Bruges in Bruges, when it was lent by Léopold Goldschmidt of Paris. In 1916 Max J. Friedländer described it as "without doubt" by Memling, and c. 1475. The art historian Catheline Périer-d'Ieteren, while noting that Memling's portrait faces were rarely underdrawn, wrote that this panel contains "thin yet confident incised lines" which may be preliminary drawings for Maria's face, perhaps made from life. The triptych was recorded in an inventory of Tommaso's holdings upon his death. The New York panels passed through Tommaso's son Francesco. The central panel was described in his 1544 will as "a small tabernacle with three movable wings, in which is depicted the glorious Virgin Mary and the father and mother of the donor" (unum tabernaculettum que clauditur con tribus sportellis, in qua est depicta imago Gloriossime virginis Marie et patris et matris dicti testatoris). Francesco bequeathed the triptych to the convent of the hospital of Santa Maria Nuova in Florence. Records indicate a small intact winged altarpiece which stayed in the hospital's possession until around the time of the Napoleonic occupation, when it was probably broken up.Maria's panel was sold as a Dieric Bouts for 6,000 francs in 1870. It later passed through several private collections before arriving in the possession of Elia Volpi of Rome, who briefly returned it to Florence. Thereafter the panels were in London from 1901, from where they were sold to Villeroy Goldschmidt of Paris by for $426,500 in 1910. They were purchased, also in 1910, by the collector Benjamin Altman of New York on the advice of Max Friedländer, along with works by Albrecht Dürer, Gerard David and Hans Holbein the Younger – paintings whose "grave austerity seems to have been most in tune with his own taste". Altman bequeathed his holdings to the Metropolitan on his death in 1913.  Guess a valid title for it!
Ans: Portrait of Maria Portinari 3

Given the below context:  Comic book fan Les Franken signs up for an experimental antidepressant. Dr. Dobson instructs him to take one pill per day. Les creates a diary for his experiences but feels no results. His lack of self-assurance keeps him from getting to know Maggie, a quiet girl who works at a grocery store. After several days of taking the pill, Les experiences supernatural powers, beginning with the ability to float. Paying a visit to Dobson, he sees himself floating, but Dobson sees him lying on the floor; Les has no powers at all. He explains that Les is having an adverse psychotic reaction to the drug and orders him to stop taking it. Les instead convinces himself that he has telepathy and Dobson is mentally telling him to continue taking the drug. Gaining self-confidence, Les quits his job in order to become a crime-fighting vigilante. He gains a reputation for tackling people after stopping a gunman from robbing Maggie's store, believing he is picking up telepathic intent from would-be perpetrators. He confides his new gifts to best friends Joey and Everett. Their initial reaction to his supposed ability to walk through walls is curiously ambiguous. The viewer only sees what Les believes he is doing rather than what his two friends actually witness. Les offers his services to the police but has to flee when he is recognized as the mystery "crime fighter".  Guess a valid title for it!
Ans: Special (film)

Given the below context:  Casey is an adolescent boy whose life is constantly influenced by his intense fear of clowns. His two older brothers, Geoffrey and Randy, are mostly disobliging. One night, the three boys are left alone when their mother visits relatives, so they decide to visit a local circus for a night of amusement, despite Casey's uncontrollable coulrophobia. Meanwhile, the local state insane asylum has sent a majority of the hospital's inmates to the carnival for therapy, but three psychotic mental patients break away from the group and kill three clowns, taking their makeup and costumes. While at the circus, Casey innocently visits a fortune teller despite Randy's better judgment. The fortune teller reveals to Casey that his life line has been cut short, and says to him: "Beware, beware, in the darkest of dark /though the flesh is young and the hearts are strong /precious life cannot be long /when darkest death has left its mark." As the boys return from the circus, a shaken Casey thinks his nightmare is over, but it has only just begun. When the clowns target their home, Casey is forced to face his fears once and for all. Casey and his brothers are locked inside their isolated farmhouse and the power is turned off. Casey attempts to call the police, but because Casey says that the "clowns from the circus are trying to get him", the police officers assume that Casey's fear of clowns caused him to have a realistic nightmare. The officers tell Casey that everything will be fine if he goes back to sleep, and hangs up. Randy mockingly dresses up as a clown, disbelieving of Casey's claims that clowns are inside the house. His plan to jump out at Geoffrey and Casey is cut short after he is stabbed by one of the clowns. Geoffrey manages to kill the first clown by hitting him with a wooden plank, knocking him down a flight of stairs and breaking his neck.  Guess a valid title for it!
Ans: Clownhouse

Given the below context:  Florence Fuller was born in Port Elizabeth, South Africa, in 1867, a daughter of Louisa and John Hobson Fuller. She had several siblings, including sisters Amy and Christie, both of whom subsequently became singers. The family migrated to Australia when Florence was a child. She worked as a governess while undertaking studies in art, and first took classes at the National Gallery of Victoria Art School in 1883, then again for a further term of study in 1888. During this period she was a student of Jane Sutherland, referred to in the Australian Dictionary of Biography as "the leading female artist in the group of Melbourne painters who broke with the nineteenth-century tradition of studio art by sketching and painting directly from nature".Fuller's uncle was Robert Hawker Dowling, a painter of orientalist and Aboriginal subjects, as well as portraits and miniatures. British-born, he had grown up in Tasmania and made a living there as a portraitist, before returning to his native England at age thirty. For the next two decades, his works were frequently hung at the Royal Academy. He returned to Australia in 1885, and Fuller became his pupil. In that year, aged eighteen, Fuller received a commission from Ann Fraser Bon, philanthropist and supporter of Victoria's Aboriginal people. The commission was for Barak–last chief of the Yarra Yarra Tribe of Aborigines, a formal oil on canvas portrait of the Indigenous Australian leader, William Barak. Ultimately, that painting was acquired by the State Library of Victoria. Although the painting is an important work regularly used to illustrate this significant figure in Australia's history, interpretations of Fuller's portrait are mixed: one critic noted the painting's objectivity and avoidance of romanticising Aboriginal people, while another concluded that "Fuller is painting an ideal rather than a person".In 1886, Dowling returned to his native England. Giving up her work as a governess, Fuller began to paint full-time, and had opened her own studio before she had...  Guess a valid title for it!
Ans: Florence Fuller