30/26
In the popular neighborhood of old Marseille, Rosa is the soul of her community, nurse and matriarch of a large and united family. He meets Henri and realizes that it’s never too late to realize your own dreams. The collapse of the buildings on the rue d’Aubagne in Marseille occurred on November 5, 2018 at 9 a.m. and caused the death of eight people. There were two dilapidated buildings in the center of town. This tragedy opens the film; Robert Guédiguian has become the dedicated director of our time. Like his English counterpart, Kenneth Loach, Robert Guédiguian portrays the other side of the mirror; on the French feel-good scene, his works are, more than ever, essential; 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 fashionable films. Her masterpieces “The City Is Quiet” “The Snows of Kilimanjaro” or the neglected “Une Histoire De Fous” are bold stories that go straight to the heart: generous, cheeky, compassionate Rosa (the wonderful Arianne Ascaride, Guédiguian’s life partner, and the main character of most of his films has these lines which are the key to the film: “why have two lives: one to take care of ourselves, and one to we take care of our fellows Like many of the director’s films, “and the party goes on” is the chronicle of a family in Marseilles, in miniature, the script is made up of subplots (I always thought that Julien Duvivier was Guédiguian’s closest relative, especially ” the beautiful team” “under the sky of Paris” and “la fête à Henriette” (of which “la atacque” is a political remake Rosa, now in her sixties, takes stock of of her life: devoted nurse – the scene where she comforts her black colleague, despairing that she did not hold her place; her patient’s hand when he died is admirable – she is also an activist, she has so many tasks to perform at the same time that it becomes impossible for her to bring them to fruition; discouragement is close and erupts during the shortlist candidates meeting. His son has found the woman of his life and plans to have many children; moreover, the father of the bride-to-be 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 escaping his shame, shows him that life can go on, even if it doesn’t go according to his plans. His father (the wonderful Darroussin, Guédiguian’s favorite actor, with whom he often played the opposite role in Ascaride), will be the light that still shines in Rosa’s darkest night. Together, they will fight the “sleep sellers” who rent unsanitary apartments, in the scene around Homer’s bust, where the voices multiply until they become one. The heroine comes to relax to the point of recognizing that the intimate is both personal and political; what makes it nicer and more efficient; the classic Aznavour. “Take me away” – unlike most of his colleagues, Guédiguian uses the FRENCH repertoire – is a transparent metaphor: apart from the harsh realities of life, happiness is out of reach.