Memories cannot be canceled. The Boltanski family never celebrates important dates, even their birthdays; According to the narrator who leads us to this strange imagination of Jewish life after the war, they only live at the present time. In May 1968, the current moment consists of riots in the streets and demands the government to step down, although the dreams of utopianism on stickers have slapped the walls that embody the true spirit of movement: “Beauty in the streets!” “The ban is banned!” One of the sons of Boltski is in the Sorbonne with his wife, and changes the world; The rest of the family members together in their home in Paris, where they want to gather in one room, and eat a variety of snacks on the bed while broadcasting the revolution.
In fact, the past is stuck in every rift of the house. Knick-knacks from Menorahs to Playbills of Josephine Baker is sprayed at every corner. The great grandmother lives on the upper floor with Brookviev exploding from its standard player, and its room is a slightly preserved angle from Odessa in 1913. On the one hand, Lionel Bayer comedy is great Crookbush Of gentle characters and whims. On the other hand, it is related to terrorism.
Grandpa (Michelle BlancHe is a general practitioner, skilled with a deluded; We see him dealing with an old woman, claiming to put a spoon in her vagina to convert Chinese surveillance equipment, with great ingenuity. Grandmama (Dominique Reymond) is associated every day in the leather leg support, which makes it possible for the polio victim of walking, but refuses to consider itself disabled. Grandma, pagan of the old French money, is a revolutionary hero herself.
She is also the Queen of the Family Car, Citroen Mom, where all the family gathered in her negotiations that resemble Mr. Mago through Paris paved with gravel and tea making in a bowl on the dashboard. The rifle is usually a nine -year -old grandson (Ethan Shiminy), wearing the new favorite coat he discovered in his biggest wardrobe: a cheerful jacket with a big golden star on the pocket. No one says he should not wear it. Let the neighbors, who have tried to deliver them 25 years ago, see the star running for free!
There is still my adult son who lives at home between the piles of books, antiquities and Russian ballet pictures. One of them is linguistic – his day comes, where we are allowed to see, when his dark discipline becomes the academic anger in the 1970s – while the other is an artist about to be a show that predicts it, in a gloomy way, it will be photographed by the general strike. The third son is the boy’s father. He and his partner are known only as the “boy’s parents” as if he was punished, the narrator tells us to live elsewhere. The boy remains with his grandparents while changing the world, one Molotov at one time. He cries as he sees them to leave, wearing family gases in wartime. Jeddah grandmother disturbs him. “There can be no sadness in this house,” she says.
Raymond is a miracle like a grandmother, whispering is the aftermath of survival; Blanc is equally good as GrandPAPA, whose hairs may look under the table is silly or compassionate – and certainly written for laughter – but it makes it really influential. It is easy for subsequent generations to overlook the fact that the war was clearly alive in 1968, the evidence for destruction is still scattered throughout Europe; The 1968 moving power was assigned to collect fascist waste.
When Boltanskis is obligated to welcome a very brilliant politician looking for a break from Fraas abroad, that circle closes; Grandpapa sits with the visitor in the shelter where he was once hiding from Gestapo, remembering how radio broadcast Charles de Gaulle of Britain has maintained it. He says, “This was my voice.” “This sound is now in the streets.”
The visit of the visitor pushes the magic thinking of the film to an increased imagination, which can be said to be weakening. It contains the flavor of a large number of children’s books on tea eating with the Queen at Buckingham Palace, which – or rather – was more likely to happen here. Everything is very charming, but there is something like the magic of Galic, just as there can be a lot of good things in a Crookbush. Accept it for the pleasure of Goodyy, however, you can simply believe everything. As Grandpapa says, there is nothing wrong with the presence of a good imagination: it gives a luster to a life that may look faded. There is nothing boring in life The safe house.
address: The safe house [La Cache]festival: Berlin (drama)
exit: Lionel Bayer
Screenplay: Lionel Bayer, Catherine Charrier
Empty: Dominic Raymond, Michel Blanc, William Lepgal, Aurelian Gabrieli, Lillian Rovir
Sales agent: MK2 movies
Running time: 1 hour 30 minutes
