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10/21

and caused the death of eight people

Story

In the working-class district of old Marseille, Rosa is the soul of her community, a nurse and matriarch of a large and close-knit family. She meets Henri and realizes that it is never too late to realize your own dreams. The collapse of the buildings on Rue d’Aubagne in Marseille took place on November 5, 2018 at 9 a.m.

They were two dilapidated buildings in the city center

This tragedy opens the film; Robert Guédiguian has become the committed director of our time. Like his English counterpart, Kenneth Loach, Robert Guédiguian depicts the other side of the mirror; on the French feel-good scene, his works are, more than ever, pivotal; because they are not exactly what we call “feel-good” even if there are moments in his work that give the viewer more joy than trendy films. His masterpieces “The City Is Quiet” “The Snows of Kilimandjaro” or the neglected “A Story of Fools” are endearing stories that go straight to the heart: generous, cheeky, full of compassion.

Like many of the director’s films, “and the party goes on!” is the chronicle of a family in Marseille

Rosa (the wonderful Arianne Ascaride, Guédiguian’s life partner, and the main character in most of his films) has these lines that are the key to the film: “why have two lives: one to take care of ourselves, and one to take care of our fellow men”. A “the city is quiet” in miniature, the screenplay is made up of secondary plots (I always thought that Julien Duvivier was Guédiguian’s closest relative, in particular “the beautiful team” “under the sky of Paris” and “the party at Henriette” (of which “à l’attaque” is a political remake Rosa, now sixty years old, takes stock of her life: a devoted nurse – the scene where she comforts her black colleague, desperate for not having held her patient’s hand when he died, is admirable – she is also an activist, she has so many tasks to accomplish at the same time that it becomes impossible for her to carry them out; discouragement is close, and breaks out during the meeting of the candidates on the list. Her son has found the woman of his life and he intends to have many children; moreover the father of the future bride is also an activist who falls in love with Rosa; this may seem melodramatic on paper, but Guédiguian’s treatment avoids pathos and dramatization; the young man’s love, after having escaped a shame, shows her that life can go on, even if it is not according to her plans.

Her father (the wonderful Darroussin, Guédiguian’s favorite actor, with whom he often played opposite Ascaride), will be the light that still shines in Rosa’s darkest night

Together, they will fight against the “slum landlords” who rent unsanitary apartments, in the scene around the bust of Homer, where the voices multiply until they become one. The heroine ends up relaxing to the point of recognizing that the intimate is personal, as much as political; which makes her more endearing and more effective; the Aznavour classic. “Emmenez-moi” – unlike most of his colleagues, Guédiguian uses the FRENCH repertoire – is a transparent metaphor: outside of the harsh realities of life, happiness is not out of reach.

[MADNESS 10BIT]