Who are the passengers that do not get to eat any of the remaining chocolate?  Answer the above question based on the context below:  The film opens with a group of photographs of the Stella Maris College's Old Christians Rugby Team. Carlitos Páez points out several members of the team and reflects on the accident in a brief monologue. Uruguayan Air Force Flight 571 flies over the Andes on October 13, 1972. The raucous rugby players and a few of their relatives and friends are eagerly looking forward to an upcoming match in Chile. Upon emerging from clouds, the plane encounters turbulence and collides with a mountain. The wings and tail are separated from the fuselage, which slides down a mountain slope before coming to a stop. Six passengers and one flight attendant are ejected from the plane and die. Antonio, the team captain, coordinates efforts to help the injured. Roberto Canessa and Gustavo Zerbino, both medical students, aid the injured. Another six passengers soon die, including both pilots and Nando's mother, Eugenia. Nando, who sustained a head injury, falls into a coma, and his sister Susana has suffered harsh internal injuries. As the sun sets, the survivors make preparations for the night. Canessa discovers that the seat covers can be unzipped and used as blankets. The survivors go inside the fuselage and curl up beside one another to stay warm. Antonio, Roy Harley, and Rafael Cano plug the gaping hole at the end of the fuselage with luggage to keep out the wind. Two passengers die overnight. With nothing to hunt or gather on the mountain, Antonio declares they will use rationing when the survivors find a tin of chocolates and a case of wine. After seeing a plane fly past, they think it dips its wing, and the survivors celebrate. Expecting to be rescued the next day, everyone except Javier, his wife Liliana, and Antonio eat the remaining chocolates. This causes a quarrel among Antonio and several others.
----
Answer: Liliana


What is the last name of the person who met with Benjamin in England?  Answer the above question based on the context below:  By 1957 Grainger's physical health had markedly declined, as had his powers of concentration. Nevertheless, he continued to  visit Britain regularly; in May of that year he made his only television appearance, in a BBC "Concert Hour" programme when  he played "Handel in the Strand" on the piano. Back home, after  further surgery  he recovered sufficiently to undertake a modest winter concerts season. On his 1958 visit to England he met Benjamin Britten, the two having previously maintained a mutually complimentary correspondence. He agreed to visit Britten's Aldeburgh Festival in 1959, but was prevented by illness. Sensing that death was drawing near, he made a new will, bequeathing his skeleton "for preservation and possible display in the Grainger Museum". This wish was not carried out.Through the winter of 1959–60 Grainger continued to perform his own music, often covering long distances by bus or train; he would not travel by air. On 29 April 1960 he gave his last public concert, at Dartmouth College in Hanover, New Hampshire, although by now his illness was affecting his concentration. On this occasion his morning recital  went well, but his conducting in the afternoon  was, in his own words, "a fiasco".  Subsequently confined to his home, he continued to revise his music and arrange that of others; in August he informed Elsie  that he was working on an adaptation of one of Cyril Scott's early songs.  His last letters, written from hospital in December 1960 and January 1961, record  attempts to work, despite failing eyesight and hallucinations: "I have been trying to write score for several days. But I have not succeeded yet."Grainger died in the White Plains hospital on 20 February 1961, at the age of 78. His body was flown to Adelaide where, on 2 March, he was buried in the Aldridge family vault in the West Terrace Cemetery, alongside Rose's ashes. Ella survived him by 18 years; in 1972, aged 83, she married a young archivist, Stewart Manville. She died at White Plains on 17 July 1979.
----
Answer: Grainger


What is the full name of the Netherlandish painter who was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective?  Answer the above question based on the context below:  The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the...
----
Answer:
Hieronymus Bosch