In May 1968 French students, workers and professionals united briefly in a wave of demonstrations, strikes and sit-ins - known as 'the events of May '68'. Documentary film-making in France in the 1960s had been dominated by cinéma-vérité - the recording of everyday life and events. Tout va bien was an attempt to consider the legacy of 1968 from within mainstream cinema, a strategy facilitated by the box-office power of the two stars. The film that resulted has been described as 'perhaps the single best cinematic description of France in the aftermath of '68'. The question of cinematic form is a particularly fraught one for films on the Holocaust and the Occupation; these subjects are conventionally considered susceptible either to a documentary approach or to classical realism. By the late nineties, French history under the Occupation seemed to have been exhausted, and the Vichy syndrome was at an end.