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Azad, the son of the Armenian family that took refuge in Marseille, is now middle-aged and a well-known writer, his name changed into something the French can pronounce. His parents are still alive and cannot enter his world. The film is about the distance between them and a reckoning that arrives in old age. It is not interested in migration. It is interested in the cost of success: he says he worked for his family and can no longer manage to sit at their table. What his parents gave up in order to stay in France cannot be recovered. The form is a sequel tied to the first film: two time frames, broad period design, emotional scenes carried by music. This is the continuation of Henri Verneuil's Mayrig, set roughly forty years later. Verneuil is telling his own life: he was the child of a family that fled the Armenian genocide and settled in Marseille, and he had changed his own name for his career. Richard Berry plays the writer, Claudia Cardinale the mother and Omar Sharif the father. Who it is for: people who have seen Mayrig and viewers who like family melodrama. Who it is not for: anyone who does not know the first film. The sequel introduces nobody, and most of the emotional weight comes from what came before.