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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 make her own dreams come true. The collapse of the buildings on Rue d’Aubagne in Marseille occurred on November 5, 2018 at 9 am and caused the death of eight people. These were two dilapidated buildings in the city center. This tragedy begins the film; Robert Guedigian has become the committed director of our time. Like his English peer, Kenneth Loach, Robert Guedigian depicts the other side of the mirror; on the French feel-good scene, his works are, more than ever, key; because they are not exactly what they call ‘feel-good’; although there are moments in his work that give the viewer more joy than modern hip films. His masterpieces " La Ville Est Tranquille" "Les Neiges Du kilimandjaro" or the overlooked "Une Histoire De Fous" are charming stories that go straight to the heart: generous, daring, full of compassion. Rosa (the beautiful Ariane Ascaride, Guediguian’s life partner and the leading role in most of his films) has these lines that are the key to the film: « who must have two lives: one to take care of ourselves, and one to take care of our neighbors ». Like many of the director’s films, « et la fête » is a chronicle of a family in miniature « A la ville est tranquille » (I always thought that Julien Duvivier was Guediguian’s closest relative, especially « la belle » équipe « sous le ciel de Paris », of which « à l'attaque » is a kind of political remake, now sixty years old, takes stock of her life: a devoted nurse – the scene when she consoles her black colleague, desperate because she did not hold the patient’s hand when he died, is admirable -, she is also an activist, she has so many tasks on the go at once, that it becomes impossible to fulfill them; despondency is close and explodes during the meeting for the candidate lists. Her son has found the woman of her life and intends to have many children; besides that the father of the future bride is also an activist who falls for Rosa; it may seem melodramatic on paper, but Guédiguian’s treatment avoids pathos and dramatization; The love of the young man, after escaping from what would be a shame, shows him that life can go on, even if not according to his plans. Her father (the wonderful Darussen, Guédiguian’s favorite actor, he often played opposite Ascaris), will be the light that still shines in Rosa’s darkest night. Together they will fight against the "marchands de sommeil" ; (dream merchants) who rent apartments uninhabitable, in the stage, around the bust of Homer, where the voices multiply until they become one. The heroine eventually relaxes to the point of recognizing that the personal is personal as well as political; this in turn makes her kinder and more effective; Aznavour’s classic. « emmenez moi » – unlike most of his colleagues, Guédiguian uses the FRENCH ditty – it is a transparent metaphor: beyond the harsh realities of life, happiness is not unattainable.