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In the working-class neighborhood of old Marseille, Rosa is the heart and 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 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. These 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 depicts the other side of the mirror; on the feel-good French scene, his works are more decisive than ever; because they are not exactly those who are considered "feel-good" even if there are moments in his works that bring more joy to the viewer than fashionable hip updates. his masterpieces "The city is quiet" "Les Neiges Du Kilimanjaro" or the neglected "Une Histoire De Fous" sweet tales that go straight to the heart: generous, cheeky, full of compassion. Rosa (the wonderful Arianne Ascaride, Guédiguian’s partner and the protagonist of most of his films) these lines are the key to the film: “We should have two lives: one to take care of ourselves, the other to take care of our fellow human beings” As in the films of the director, I have always thought that Julien Duvivier Guédiguian’s closest relative, especially in “la belle équipe” and “la fête à l'attaque”, takes stock of her life: a devoted nurse – the scene where she is consoled by a black colleague, desperate because she did not hold her patient’s hand when he died, is admirable – she is also an activist, she has so many tasks on the go at the same time that it becomes impossible to see them through; despondency is close, and at the meeting of the list candidates breaks out. His son has found the woman of his life and wants to have many children; the future bride’s father is also an activist who falls in love with Rosa; on paper it may seem melodramatic, but Guédiguian’s treatment avoids pathos and dramatization; The young man’s love, after escaping shame, shows him that life can go on, even if not according to his plans. Her father (the wonderful Darroussin, Guédiguian’s favorite actor, often played opposite Ascaride) becomes the light that still shines in Rosa’s darkest night. Together they will fight against the “marchands de sommeil” ; (sleep merchants) who rent out uninhabitable apartments in the scene, around the bust of Homer, where the voices multiply until they become one. The heroine finally relaxes enough to admit that the personal is both personal and political; this in turn makes it more lovable and effective; Aznavour’s classic."emmenez moi" – Unlike most of his colleagues, Guédiguian uses the French songbook – a transparent metaphor: outside of the harsh realities of life, happiness is not unattainable.

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