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In the working-class neighborhood of old Marseille, Rosa is the heart and soul of her community, the nurse and matriarch of a large and close-knit family. She meets Henri and realizes that it is never too late to realize her own dreams. The collapse of the buildings on the rue d'Aubagne in Marseille occurred at 9 am on November 5, 2018, killing eight people. There were two ruined buildings in the city center. This tragedy opens the film; Robert Guédiguian has become a committed director of our time. Like his English colleague Kenneth Loach, Robert Guédiguian shows the other side of the mirror; on the good French stage, his works are more important than ever; because they are not exactly what you would call "feel good" although there are moments in his work that bring more joy to the viewer than the trendy blockbuster films "La Ville Est Tranquille" "Les Neiges Du Kilimanjaro" or the neglected "Une Histoire De Fous" are lovely stories that go straight to the heart: generous, cheeky, full of compassion. These lines from Rosa (the wonderful Arianne Ascaride, Guédiguian’s partner and the protagonist of most of his films) are the key to the film: “which must have two lives: one to take care of ourselves, the other to take care of our neighbors. As in many of the director’s films, the “et la fête à jour!” is also the chronicle of “la ville est tranquille”. her cousin, especially “la belle équipe” sous le ciel de Paris “la fête à Henriette” (of which the “à l” is a kind of political remake) Rosa, now sixty years old, sees her life as: a devoted nurse – the scene where she consoles her black colleague, desperately because she did not hold the patient’s hand when she died, is admirable – she is also an activist, there are so many tasks in motion at the same time that it becomes impossible; hopelessness is close and her son, who wants to have many children with the father of the future bride, also an activist, breaks out for the electoral lists, he falls in love with Rosa; on paper it may seem melodramatic, but Guédiguian’s treatment avoids pathos and dramatization; Mladić’s love, after fleeing shame, shows her that life can go on, even if it is not her plans according to. Her father (the wonderful Darroussin, Guédiguian’s favorite actor, who often played alongside Ascaride) will be the light that still shines in Rosa’s darkest night. Together they will fight the "marchands de sommeil" ; (dream merchants) who rent uninhabitable apartments, in the scene around the bust of Homer, where the voices multiply until they become one. The heroine finally relaxes and acknowledges that the personal is both personal and political; this in turn makes Aznavour’s classic all the more charming and powerful. "emmenez moi" – unlike most of his colleagues, Guédiguian uses the FRENCH songbook – a transparent metaphor: beyond the harsh reality of life, happiness is not unattainable.