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Best directorial debuts?

Started by Mark Wood79 · · 👁 5 views · 57 replies

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Participants Mark Wood79neonsurfer6rustyscout34Roger Long67wiredbison82Christian Taylor3briskhound2Grace White4Lisa Ross65Sophia Nguyengoldenhound32restlessharbor25Maria BarnesAmanda Nguyen5Joshua Smith5Charles Martin2Eric Newman2Nicholas Walker3feralnomad58
Mark Wood79 Mark Wood79 MemberOP
49 messages
joined Jul 2010
#1 ·
First off, I did a quick search through the forum archives using the search function to see if this topic had already been covered, but nothing came up. If I missed an existing thread, my apologies—feel free to point me in the right direction.

So, here’s the question: in your opinion, what are the greatest debut films ever made? I'm talking about anything from fiction to documentaries, as long as it's a full-length feature.

You know that feeling when you're watching a movie and you're convinced you're watching a seasoned pro at work, only to realize it's actually that director's very first outing?

I'm not sure if there are established lists out there for this kind of thing, but if there are, please don't just drop a link here. It's much more fun if we all try to recall them ourselves.

To get the ball rolling, I'll throw out a few classics: Orson Welles' *Citizen Kane*, John Huston's *The Maltese Falcon*, Sidney Lumet's *12 Angry Men*, or David Lynch's *Eraserhead*.
neonsurfer6 neonsurfer6 Member
37 messages
joined Jan 2010
#2 ·
If my memory serves me right, Godard’s debut was his first feature film. It absolutely deserves a spot on a list like this. Then there’s Linklater’s *Slacker*—it earns its place simply for being gutsy. Betting your own cash on a weird little indie debut takes a level of sheer enthusiasm that's honestly pretty admirable.🙂
rustyscout34 rustyscout34 Active Member
110 messages
joined Aug 2009
#3 ·
Topics starting with best ought to be illegal. But, I guess luckily I'm against bans... 🙂
The first few that come to mind (and they probably don't belong in the same breath as legends like Spielberg, Scorsese, or Coppola...) are Polanski's Rosemary's Baby, Tarantino's Reservoir Dogs, Iñárritu's Amores Perros, and (a personal favorite) von Donnersmarck's The Lives of Others 🙂

... there's plenty more ...
Roger Long67 Roger Long67 Newcomer
8 messages
joined Apr 2010
#4 ·
He wasn't exactly a fan 😍

Since *Citizen Kane* consistently tops almost every major critic poll as the greatest film ever made—and considering it was a debut, no less—there really isn't much of a debate regarding the best first feature in cinema history.

If I had to narrow down the last twenty years or so, though, I’d probably point to *American Beauty* (Mendes), *Reservoir Dogs* (Tarantino), *Amores Perros* (Iñárritu), *The Lives of Others* (von Donnersmarck), and *Sex, Lies, & Videotape* (Soderbergh).
wiredbison82 wiredbison82 Active Member
72 messages
joined Mar 2009
#5 ·
Godard’s "Breathless," Malick’s "Badlands," Polanski’s "Knife in Water," Spielberg’s "Duel," Truffaut’s "The 404 Days," Bogdanovich’s "Targets," or Mann’s "Thief." I suppose "The Maltese Falcon" has always held a special place in my heart, and one really shouldn't overlook "Citizen Kane" in a list like this.

It is quite an interesting pattern; for most of these directors, that debut feature remains their finest work. If not their absolute best, then certainly among their greatest achievements.
Mark Wood79 Mark Wood79 MemberOP
49 messages
joined Jul 2010
#6 ·
rustyscout34 said:Topics starting with S. The best. I feel like there should be a law to ban this kind of thing, but honestly, I’ve always been a bit skeptical about bans. In my experience, they rarely work out the way people hope they will. 🙂

You've got a point there. Honestly, it might be better if they were just called "debut films." If that’s something that can be updated, maybe the moderators could make the change if they aren't against it.

rustyscout34 said:The first few names that come to mind—though they probably aren't even worth mentioning in the same breath as legends like Welles, Huston, or Lumet—would be Polanski's. A knife in the water.It’s like watching a Tarantino film—you know exactly what kind of ride you're in for, and that's half the fun. Reservoir DogsIñárrituov Love's Dogs I’m such a huge fan of von Donnersmarck’s movies. The Lives of Others 🙂
There are still plenty more out there.

Of course they deserve it! Everything happens when it’s meant to. And honestly, you really picked some winners with those movie suggestions. It's a great mix—a little bit of that classic 60s vibe, some 90s staples, and then moving into the 2000s. Great selection.👍
I only mentioned that to serve as an introduction.

neonsurfer6 said:If I remember correctly, Godard’s *Breathless* was his first feature film. It definitely deserves a spot on any serious ranking of great cinema. I also think Linklater’s *Slacker* belongs on those lists—not just for the style, but for the sheer guts it took to make. Putting your own money behind a weird, experimental debut like that? That kind of raw enthusiasm is something you really have to respect.🙂

I feel like I could spend days just picking apart a Godard film. There’s so much to dig into—not just what happens on screen, but how his style fundamentally reshaped the way movies are made and how they continue to influence directors today. It's one of those subjects where you always find something new to talk about.
If anyone's looking to drop a quick movie review, just go for it! I'm all ears.
I honestly think the movie hit every single note Godard was aiming for. Everything from that classic black-and-white aesthetic to the existentialist undertones and even the pacing felt spot on. It was perfect. I know some people argue that this kind of style feels dated by today's standards, but I just don't see it that way. Early Godard is timeless—at least in my book. It’s flawless.

I haven't actually sat down to watch Slacker yet—at least, I can't recall seeing it—but now that I’ve seen a bit about it, I definitely feel a pull to check it out. I realized I’ve really let Linklater’s filmography slip through my fingers; I honestly don't even know what he's been up to lately. My main memories of him go all the way back to his 90s era. I remember catching Suburbia on TV a few times growing up and thinking it was pretty solid, or renting Newton Boys on VHS back in the day—it had a great poster, though I wasn't exactly blown away by the movie itself. Most of that feels like a lifetime ago, though.

Out of the ones I listed here:
First off, I have to give my vote to Citizen Kane.
The main reason I hold both Welles and Kane in such high regard is that Orson Welles was only 26 years old when he wrote, directed, and starred in it. People have already written entire books about his technical mastery—the camera angles, the framing, the editing style...
Honestly, I don't care much for the "greatest film ever made" label. In fact, it seems like that flattering title actually caused him more trouble than good. I get the feeling there’s this strange counter-effect where people end up hating the movie just because of the hype surrounding its reputation. Everyone talks about the title, but they forget to actually watch the film.
I know a million people have already mentioned this and paid their respects, but hey—I had to join in!

The Maltese Falcon is one of those films, along with a few others, that played a huge role in making me fall in love with black-and-white cinema in general.
Once again, it gets tied to a specific label—being the first true film noir. You could go on forever about that, but I'll leave that argument to the enthusiasts. I already covered my thoughts on that back in 2010, and I'm not looking to repeat myself.

12 Angry Men belongs to a young Sidney Lumet, who was pretty much an unknown at the time, and Henry Fonda, who stepped up to handle the production himself. When you're filming a movie set entirely in a single room, you need incredibly strong characters and sharp dialogue to make it work, and this film delivers exactly that.

Eraserhead is a totally unique, homegrown masterpiece. It's one of those films that I can't quite fit into a box, whether you're looking at it through genre or historical context. It's simply a film by a director who was, and remains, a one-of-a-kind phenomenon. The great David Lynch!
That atmosphere, the set design, that minimalism, the sheer conceptual madness!
Mark Wood79 Mark Wood79 MemberOP
49 messages
joined Jul 2010
#7 ·
wiredbison82 said:Godard’s "Breathless," Malick’s "Badlands," Polanski’s "Knife in the Water," Spielberg’s "Duel," Truffaut’s "The 400 Blows," Bogdanovich’s "Targets"... For sure, "The Maltese Falcon" has always been a personal favorite of mine, and we definitely shouldn't forget "Citizen Kane" in this list.

It’s pretty interesting how, for most of these directors, their debut remains the absolute peak of their career. If it isn't their best, it's certainly right up there with it.

There are definitely certain directors who just didn't know how—or maybe didn't want to—grow old. Peter Bogdanovich is the prime example. I absolutely love "Targets," and then you have later gems like "Paper Moon," "The Last Picture Show," and "What's Up, Doc?"
"Targets" is truly a masterpiece. We were just talking about it recently, along with another master who made his debut back in the summer of '68—De Palma! "Blow Out" is incredible.
As for Spielberg, "Duel" still feels like his strongest work to this day.
"The 400 Blows" actually came up in a thread back in 2010; I mentioned then that Buñuel’s "Los Olvidados" is a huge influence there. Speaking of newcomers, I adore "Beautiful Serge," that early melodrama by Chabrol that people tend to unfairly overlook these days.
Early Polanski was perfect too; "Knife in the Water" felt like a warning shot announcing the arrival of a true psychological thriller powerhouse.
And Malick’s "Badlands" and "Days of Heaven"... honestly, I'm at a loss for words.

There is so much to dive into, which is exactly why I started this thread. We can pull from all sorts of eras and corners of the globe. The one thing they all share is that they were the very first step.
rustyscout34 rustyscout34 Active Member
110 messages
joined Aug 2009
#8 ·
I wonder if Melville’s The Silence of the Sea actually matters much? I haven't gotten around to watching it yet, unfortunately...
Mark Wood79 Mark Wood79 MemberOP
49 messages
joined Jul 2010
#9 ·
rustyscout34 said:I wonder if Melville’s Le Silence de la Mer is also significant? I haven't actually seen it yet, unfortunately...

Neither have I.

But I did catch *Les Enfants Terribles* a year later, and I can tell you it shows a completely different side of Melville than the one we usually associate with his work from *Bob* onwards.
It's a far cry from minimalism; based on a direct screenplay by Cocteau, it’s more of a psychological drama about a brother and sister. I actually wrote about this film back in 2009. As I noted then, it feels like a journey into these phantom emotions—and interestingly enough, that exact phrase is mentioned once in the movie. The setting stays mostly within just a few interiors, and that's about it. I really enjoyed it.

I haven't watched *Le Silence de la Mer* yet, but I plan to soon. Once I do, I'll post my thoughts on that old Melville thread Grace White4 started ages ago, which hasn't seen any activity lately.
Christian Taylor3 Christian Taylor3 Active Member
213 messages
joined Jul 2010
#10 ·
Here's my list of favorites:

I guess I’m just sitting here waiting for the clouds to finally break, though at this point, I’ve probably spent more time staring out the window than actually getting anything done today. It’s one of those heavy, quiet afternoons where everything feels like it’s holding its breath right before a massive thunderstorm hits the coast. There's a certain kind of stillness that settles in—the kind that makes you feel like you should be doing something productive, even if you have absolutely no intention of actually moving from this chair. It’s a bit pathetic, really, how much I find comfort in this gloomy, pre-storm tension, but I suppose there's something oddly grounding about knowing a downpour is inevitable./Milco Mancevski.

A pretty solid start to one of these. It’s funny how some people end up with these absolutely bizarre career paths that just don't seem to make any sense on paper.Mancevski is pure inspiration, especially for any young filmmakers trying to make it in this industry. Honestly, though, regarding the script—it all really starts with... I honestly can't decide if I should be more impressed by the sheer audacity of these scenarios or just deeply concerned about where people are getting their ideas lately. It’s one thing to have a wild imagination, but there’s a certain level of unhinged creativity happening here that feels almost impressive in its absurdity. I’m sitting here trying to make sense of it all, half-expecting someone to walk in and tell me this was all part of some elaborate social experiment, though even then, I think the budget would have been too high for something this chaotic.! 🧐

I guess we’re doing this again. Back to square one, I suppose./I’ve been thinking about Andrei Zvyagintsev lately, and honestly, watching his films feels a bit like sitting through a very slow, very expensive deposition where you're pretty sure the defendant is lying to your face. There's this heavy, lingering sense of dread in his work that just sits in your chest, making you feel like you need a drink and a nap immediately after the credits roll. It's masterful, I guess, if you enjoy feeling vaguely depressed about the state of humanity while staring at beautifully composed shots of bleak landscapes.

The debut effort from that old-school Russian student, Andrey Zvyagintsev, really made waves at Sundance back in 2003, and it held its own during the very first edition of the Tribeca Film Festival, too.

The 2003 Golden Lion winner managed to pull off fifteen straight minutes of standing ovations after its Venice screening, which was honestly pretty impressive. It’s the debut feature from this old-school Russian student, Zvyagintsev, and people are already trying to draw these heavy comparisons between him and Tarkovsky—calling it some sort of mystical, symbolic allegory about those endless Russian white nights where the sun never really sets, all wrapped up in these tragic elements. It basically opens up a whole mountain of questions without actually bothering to answer a single one of them.So, this director gets handed an award and immediately goes, "..."It feels like a fair enough question to ask, "what is this movie actually about," I suppose. But honestly, I don't think that's even a question worth asking in the first place.'

I honestly don't know where to start with this whole car situation, but I guess we're talking about cars now. It's one of those topics that everyone seems to have a very loud, very polarized opinion on, usually while sitting in bumper-to-bumper traffic on some interstate, which isn't exactly the peak of human intellectual discourse. Personally, I find the entire industry a bit exhausting to follow, though I suppose there's a certain grim fascination in watching how much money people are willing to throw at a shiny hunk of metal just to feel something for twenty minutes on their morning commute.

I finally sat down to watch *The Shawshank Redemption*, and honestly, I’m sitting here wondering why it took me this long to give it a chance. It’s one of those movies that feels like it should be a heavy, soul-crushing slog because, well, it's about prison, but it somehow manages to feel incredibly light and hopeful by the end. Andy Dufresne is such a quiet, understated character—not your typical cinematic hero who screams about justice—and watching him navigate that system with such patience was actually pretty mesmerizing. It’s a slow burn for sure, the kind of movie where you have to settle in with a drink and just let the atmosphere wash over you, but the payoff is massive. It really makes you think about how much of our own lives we spend just following the rules without ever questioning if the walls around us are actually there to protect us or just to keep us contained. Truly a classic, even if it did make me feel a little bit inadequate about my own level of patience./Frank Darabont

It’s funny how fear has this way of turning your own mind into a high-security prison, keeping you locked up tight when you really should be moving forward, but I suppose if you can find even a shred of hope, it’s enough to break the bars and let you out.. 😍

I finally sat down to watch 13 Tzameti, and honestly, it’s one of those movies that just sits in your gut like a bad burrito. It’s this gritty, claustrophobic descent into a high-stakes underground game that feels way too plausible to be comfortable. There’s no flashy Hollywood polish here, just this raw, mounting sense of dread as you realize how quickly things can spiral when you're just trying to survive. It’s bleak, it’s tense, and it definitely leaves you feeling a little hollowed out by the end./I can't say I'm exactly an expert on film theory, but I've always found Géla Babluani to be one of those directors who just refuses to play by anyone's rules, which is probably why his work feels so unsettlingly raw.

You’d better commit Géla Babluani to memory if you want to stay ahead of the curve. 😉

After that debut neo-noir hit '13/Tzameti' really made waves, director Gela Babluani is currently working on an American remake titled simply '13'.

🙂

I guess I’m just one of those people who finds themselves staring at the screen long after the credits roll, wondering why certain things hit harder than they should. There’s something about that specific kind of cinematic melancholy that stays with you, isn't there? It’s not even about the plot, really—it's more about that quiet, hollow feeling of realizing how much we all perform for one another just to feel like we exist. It’s a heavy watch, sure, but it manages to be beautiful in a way that feels almost uncomfortably honest./Sam Mendes

It’s basically a tragicomic masterpiece from that British theater director—and yeah, it also happens to be his first script to actually snag an Oscar. I can't say I'm exactly surprised by how things are shaking out with Alana Balla, though I suppose a little bit of shock might be expected if you haven't been paying attention to the general chaos lately. It feels like we're all just circling the drain of predictable outcomes, isn't it? Honestly, I’d love to say I saw this coming from a mile away, but my ability to predict anything more complex than when my toaster is going to quit on me is pretty much non-existent. Still, watching this unfold is like seeing a slow-motion car crash where you know exactly which part of the bumper is going to fly off first.. 🙏 Well, there’s definitely some truth to that, isn't there? 😁

I guess we’re officially in crash territory now. It’s one of those moments where you just sit back, watch everything fall apart, and wonder if anyone actually saw this coming—or if we were all just too busy staring at our phones to notice the wheels coming off./Paul Haggis

I've spent about twenty years grinding away in the television industry—which, for what it's worth, includes the fact that Haggis actually cooked up that series. Chuck Norris's old show, Walker, Texas Ranger. I ended up writing 196 episodes of the exact same thing. 😵The hilarious part is that he actually went on national TV recently and spilled everything to the whole country, basically airing out all the garbage they’d been forced to put up with for years. 🤣

Back in 2000, when he was 47, Haggis hit a moment of clarity: he realized he "didn't want the epitaph on his tombstone to read: 'Creator of Walker, Texas Ranger.'"

That same year, he picked up the film rights for F.X. Toole’s book, Rope Burns. What followed is history—though maybe not the kind you'd see on a TV broadcast.

Badlands
Blood Simple
Reservoir Dogs
Being John Malkovich
Sex, Lies, and Videotape
Un Chien Andalou
Breathless
The 400 Blows
Shadows

Mark Wood79 said:You’ve got a point; honestly, it might just be easier to call them debut films. If that can actually be changed, I guess the mods can step in if they aren't too busy.

WTF? 😕 Not even in a fever dream—by that logic, the Coen brothers would be sitting right there next to Vic Ream. 😬
Mark Wood79 Mark Wood79 MemberOP
49 messages
joined Jul 2010
#11 ·
Christian Taylor3 said:What on earth happened? 😕 That logic makes zero sense. By that reasoning, you might as well be saying the Coen brothers are on the same level as Vic Reice. 😬

Maybe for some people, what he's doing is on par with a classic like *Blood Simple*. 🙂

Man, people are just strange. It’s wild how much variety there is out there.
wiredbison82 wiredbison82 Active Member
72 messages
joined Mar 2009
#12 ·
Mark Wood79;26177928 said:There are certainly directors who simply refused—or perhaps weren't capable of—growing old. Take Peter Bogdanovich, for instance. I have a deep affection for ''The Last Picture Show,'' along with ''Paper Moon,'' ''The Last Picture Show,'' and ''What's Up, Doc?''
''The Last Picture Show'' is a true masterpiece. We were just discussing a recent one, and another titan who made his debut back in the summer of 1968—De Palma! ''Body Double'' is a standout.
As for Spielberg, ''Duel'' remains his most visceral work in my eyes.
''400 Blows'' was also brought up in that 2010 thread; I noted then how much of an influence Truffaut's work had, much like how Buñuel's ''Los Olvidados'' set the stage. Speaking of the New Wave, I’ve always been fond of ''Beautiful Serge,'' a debut melodrama by Chabrol that people tend to unfairly overlook these days.
Early Polanski is equally flawless; ''Knife in the Water'' serves as a perfect warning of the psychological predator arriving on the scene.
And Malick's ''Badlands'' and ''Days of Heaven''... they leave me quite speechless.

Of course, I completely blanked on De Palma, despite how often I champion him here on this forum...🤣
Christian Taylor3 Christian Taylor3 Active Member
213 messages
joined Jul 2010
#13 ·
Mark Wood79 said:Maybe some guy like Miller is on par with Blood Simple. 🙂

It’s funny how people work.

Yeah, you’ve got a point there. It seems like the only person narcissistic enough to be in the same league as Blood Simple is Vic Miller. 😬

Anyway, this is a great thread! :claps: I guess my cowardice finally paid off—quality over quantity, I suppose. 🧐
Mark Wood79 Mark Wood79 MemberOP
49 messages
joined Jul 2010
#14 ·
Christian Taylor3 said:Yeah, you've got a point there. It really just comes down to one person. Nausikaja It’s right up there with... Blood Simple. Vicku Ruicu. 😬

By the way, this is such a great topic! It looks like my little coward actually managed to pull it off—it's definitely a case of quality over quantity. 🧐

Just when you were about to give me some credit, I went and started a poll about Marc Dacasco. 🙂

Never let the legacy of Jacob Harper fade!🙏

I haven't actually seen that Nausicaä movie myself—to be honest, I have no idea what it's even about. And as for Vicko Ruić... I just know he made that one film that absolutely nobody showed up to see. He broke a record, plain and simple. You can say whatever you want about him, whether you think he’s a good guy or not, but at the end of the day, records are records.😂

wiredbison82 said:Yeah, I totally blanked on De Palma for a second, even though I swear by his work all the time on this forum.🤣

It happens. Honestly, if anything, it just goes to show how much ground there still is to cover.
briskhound2 briskhound2 Regular
411 messages
joined Mar 2009
#15 ·
If we’re talking about the absolute gold standard for brilliant, high-concept nonsense 😈 John Carpenter’s Dark Star...
wiredbison82 wiredbison82 Active Member
72 messages
joined Mar 2009
#16 ·
briskhound2 said:I’ll throw out a prime example of pure, brilliant absurdity😈 John Carpenter's *Dark Star*.

Look, as much as I respect Carpenter—and I truly adore his early stuff—*Dark Star* just never quite clicked for me.

It’s a solid, clever bit of satire, but I think I went in with expectations that were far too high, ultimately walking away with something that was decent but entirely forgettable.

That said, it bothers me how often his earlier triumphs are overlooked, specifically those stellar TV movies like *Someone is Watching Me* and *Elvis*.
In my view, they hold more weight than *The Fog*, *Halloween*, *Prince of Darkness*, or even *The Thing* combined.
briskhound2 briskhound2 Regular
411 messages
joined Mar 2009
#17 ·
wiredbison82 said:Honestly, though, it kind of sucks how Carpenter’s earlier wins just get swept under the rug all the time—I'm talking about those killer TV movies like "Someone is Watching Me" and "Elvis."
They're actually better than that whole run of Magli, Christina, Vampires, and Prince of Darkness combined...

Look, Dark Star is a bit much in certain spots—maybe even a little overrated—but it’s still a pretty cool debut for a low-budget indie flick. What you're saying is spot on. To be totally real with you, I haven't actually sat down to watch "Someone..." yet, but "Elvis" definitely stuck with me, even if it was a while back...

I should probably bring up John McTiernan, too. Everyone knows him as the guy behind those massive action blockbusters, but they never seem to talk about his first real outing, Nomads. It’s a decent enough thriller, even if it isn't exactly groundbreaking...
rustyscout34 rustyscout34 Active Member
110 messages
joined Aug 2009
#18 ·
been digging through IMDb for a while now. there are plenty of other interesting, solid debuts in there (at least from what I've seen). for instance, Kaye's American History X, Antal's Kontroll, Blomkamp's District 9, Bound by the Wachowskis (before they did The Matrix), Pixar's Toy Story, Guy Ritchie's Lock, Stock and Two Smoking Barrels, Reitman's Thank You for Smoking, Clooney's Confessions of a Dangerous Mind (followed right away by the critically acclaimed Good Night, and Good Luck), Rodriguez's El Mariachi, Dog Soldiers by Neil Marshall, Jackson's Bad Taste, The Virgin Suicides by Sofia Coppola (after which she made an excellent Lost in Translation)... stuff like that. anyway, that's about it for now... 🙂

Scorsese and Cameron had some pretty interesting late-night debuts... 😍
(Colossus of Rhodes + Piranha Part Two: The Spawning)

edit
and Redford's Ordinary People 🙏
(and Silent Running, which I watched the day before yesterday) 🙂
Grace White4 Grace White4 Member
10 messages
joined Jul 2010
#19 ·
We absolutely have to talk about the brilliant debut of Richard Kelly with "Donnie Darko". For me? It’s easily the best film from the first decade of this century. 🙏

The thing is, Kelly didn't just direct this masterpiece; he wrote an incredible script too. And get this—he was only 25 years old when it premiered at the Sundance Film Festival. Isn't that just wild? Truly impressive.

"Donnie Darko" quickly cemented itself as one of the greatest indie films ever made. Unfortunately, people are still waiting for Kelly to really prove himself again, since "Southland Tales" and "The Box" didn't exactly blow us away... But hey, fortunately, time is on his side.
wiredbison82 wiredbison82 Active Member
72 messages
joined Mar 2009
#20 ·
George Miller’s "Mad Max," the Smiths’ "Traders," James Gray’s "Little Odessa," David Fincher’s "Alien 3," and Danny Boyle’s "Shallow Grave"...

And then there is Kurosawa's "Dolly Bell"—a lovely, promising start to what would ultimately prove to be a rather mediocre career.

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