Paris in May 1968 is not just the background of the latest work "La Cache" by Swiss filmmaker Lionel Baier. This is Christophe Boltanski's Prix Femina award-winning novel La Cache, produced by Bandeà Part Films and co-produced with Red Lion, Les Films Du Poisson, RTS Radio Télévision Suisse and Srg Ssr, making it France, Switzerland and Switzerland, Switzerland, Switzerland, Switzerland, Switzerland, Switzerland Co-produced with SRG SSR Luxembourg. The comedy debuted in Berlinale and saw Baier observe a quirky family.

The ensemble cast consists of Dominique Reymond as its grandmother, the late Michel Blanc as Père-Grand, and grandfather William LeBGill ( William Lebghil), once the great uncle and auréliengabrielli, plays the young uncle. Liliane Rovère depicts the hinterland, while Adrien Barazzone and Larisa Faber play the boy's father and mother with Ethan Chimienti, respectively. Giles’s private also joined the ensemble to take on a key support role.

Baier's movie begins with a line in the book: "In a clean world, you must be dirty. Bacteria protect us." These words float above a scene where the little boy only Armed with a flashlight, explore corridors filled with books, precious souvenirs and even miniature Citroen. He was delighted in the independent world inside his apartment as his parents joined the chorus of student protests on the street.

Within the walls, the apartment becomes a microcosm of past times, a storage of history and family secrets. The boy's uncle - a visual artist and an aspiring intellectual - added his talent, and he was a wealthy great-grandmother played by Liliane Rovère, 92, who was not too ordinary. In the revelation of playful chats and whispers, everyday objects become symbols: the soundtrack of jazz performance sets a measure of pace, and finally, an unexpected visitor reveals a family that is in trouble with past families because outside Paris outside Paris the future.

Lionel Baier talks type Before the film's world premiere in Berlin.

You open the movie with interesting lines: "In a clean world, you have to be dirty. Bacteria protect us." What does this paradox mean in the context of the movie? How does it set the tone for the humor, history and personal memory of the entire story?

This is a direct quote from the novel. I think my grandfather protected himself from evil by taming it. We must not be afraid of it, but use it and transfer it around us to do good things. It's also a warning: Remember that hygieneism has led to the worst atrocities. You have to love dirt. Actually, this is a problem in today’s movie: the streets are too clean and you can’t see the dust and air in the camera. This is a truly outdated element in the "safe house". For example, the air in Paris is too transparent in 2024. You can't see it. The walls are too white.

The film's jazz soundtrack, rich palette and playful nods, from Prokofiev to the old-fashioned Citroëns, seems to be all cultural touchstones. Can you discuss how music and visual aesthetics can help strengthen the theme of film’s legacy, identity and transformation?

This is my first time working with a composer on the soundtrack. Diego, Nora and Lionel Baldenweg do a great job of writing and improvising. I wanted to find my breath on the instrument, and heard the air on the copper tube, and the piano hammer hit the strings. Something not too clean. Since 80% of the movies are shot in the studio, I want to give it some air. I'm the awester of Keith Jarrett, who started these piano solos at this point and is traveling to Europe. A few years ago you could hear Miles Davis of Louis Malle at Ascenseur Pourl'échafaud in Louis Malle. Music also has liberated.

"La Cache" is a profound personal book by Christophe Boltanski. How do you deal with adapting to the screen to such private materials?

I like Christophe Boltanski's books because like all great writers, he's talking about our books when he talks about his family. So I mixed my memory with his memory. In fact, in the book, May 1968 is mentioned in only one sentence. I wanted to make a movie for the live while the car was in front of Odessa. This is not exactly the same as in the book, but I understand the idea of ​​favoring what my grandmother once said about Odessa. I did the same for my family’s past. I'm no longer looking for the truth, and I'm telling myself things are much better.

The film is set in May 68, intertwining the chaotic energy of historical protests with the private world of a quirky family. How do you balance these two narratives in your adaptation - public history and personal memory?

The 1968 revolution was an unconscious revelation of France. At the end of the war, General de Gaulle declared that the Vichy regime was not part of the great national story and should be forgotten. But May 68 awakened the passion. The young people demanded explanation that their parents believed their identity was threatened. Even today, extreme right-wing parties want to return to the world before the 1960s. This family is truly the Guardian of France: its diversity, hybridity, quirks, courage and belief in change. This is what is hidden behind the cache, and it is also what is on the streets in May 1968. Bortansky's story is the history of France.

The film has a toy with ideas about truth and faith - "Believe is not lying", and even in linguistics, lies do not exist' idea. Can you talk about how these philosophical ideas about language and truth inform the narrative and visual style of the film?

Movies are a religion, not a truth. This is a way of representing life, but not life. You must give the audience sufficient reason to believe. If you force them or tell them that you have the ultimate truth, it is a cult and you are a master. I don't want to be. For example, in the visual style of the movie, this explains that, for example, the scene of a toy car becomes a real car. This writing style has been in the Boltanski world since the grand Gaston Lagaffe comic book reading, so the light toys can become a real car . This is the religion of the movie.

The film seems to comment on the evolution of communication, from a love of language to a more independent modern form of communication. What do you think of this transformation in the lives of characters and in the ever-changing society about the birth of modern people?

Look at what is happening today. It was mean to everyone react to the idea when Trump yelled and said Gaza could be the era of Kot Azur in the Middle East. We react to what he conveys. But if we are interested in the words he uses, in the way he arranges them, then we use language. There, we contact his true identity. Jacques Lacan explains this very well. The way of speaking is more important than what you say. We use our words. We should listen carefully to how we manage, not why. I studied linguistics in college at the same time as Movie. Maybe I'm a little nostalgic this time.