La Haine

La Haine ★★★★★

i rewatched la haine on the bfi blu ray release which is definitely *chefs kiss*, la haine has been a special film to me for a long time, mainly because i participated in a speaking competition about it and i miraculously made it to the regionals! so i thought i would just put the script for that as my review, to be honest it may not make sense but hey ho!

heres my semi analytical commentary of la haine!


( NEXT SLIDE) released in 1995 La Haine is a french odyssey by filmmaker and actor Mathieu Kassovitz who heralded his main motivation behind making this film was to tell a story with unadulterated testament to all that was transpiring around him within contemporary 90s France of copious distress and violence between the class divides and neglect to those who weren't considered orthodox french citizens,

La Haine may emanate a subliminal yet powerful socio-political drama that many merit as its high acclaim, but where the real pulp of this film is bestowed, verified abundantly by Kassovitz, is in how mundane and perhaps how seemingly futile the collateral actions taken by the protagonists are, from the question of whether there is such a thing as the subsequent notion of pre-decided fate.

There's something so profusely harrowing, stoic and at the same time accosting to audience perception that makes La Haines' story all so resonant and potent, even 26 years later.

The catalyst for the exposition in Kassovitz tale begins with a montage depicting ample riots spliced with French news reports causing angst and disconcertion across Paris, which all was stimulated by a young muslim boy called abdul rebuking a police mans conduct and with him yielding serious life threatening injuries from his altercation with the police official. This is also reported alongside an incremental yet important report that during a prolonged night of riots, a police officer was deprived of his revolver.

This is upon the advent of the film where we’re instigated into the parisian suburbs where cultural diversity is profuse and subtle vexing towards the officials seethe



In la haine the story is oriented around three protagonists which each manifest separate representations of temperaments:

Vinz, a young jewish man played by vincent cassel, represents a sentiment of cynicism to the principle of gluttony and gentrification that he believes plagues modern Paris.
He loves American culture to such an extent that when being initially introduced to vinz, cassels character is looking himself in the mirror pointing a finger gun and saying

Next slide : you talking to me? (in an accent)

A famous quote by robert de niro's character Travis Bickle in martin scorseses thriller classic ‘taxi driver’, the connotations of this being a possible foreshadowing that Vinz may share the same fate as scorceses bickle who slowly descends into a state madness and hysteria.

Vinzs flagrancy is his biggest detriment, as he also struggles to synthesize his animosity into a tangible action. He carries a large liability being a revolver he stole during the riots the night before, the revolver reported in the introduction

Unlike his friends he believes the life of his friend abdul should not be left redundant as he so desperately yearns to get retribution for his friend, and meticulously meditates a ultimatum of which if Abdul dies then Vinz will institute his obligation for revenge, yet despite Abdul dying, he still can’t diminish a feeling of not being able to follow through on his words during the heat of the moment.

Saïd, a callous muslim teen, reciprocates many of mutual exasperated virtues as vinz yet his pretence of protruding masculinity that he believes liberates him is often futile. usually through how he attempts to coerce vinz and Hubert into spontaneous acts of violence, despite their frequent ambivalence of trying to justify their resenting

Hubert, a black boxer, is a man of rapture. He dreams of conforming to a life of being docile and neutral, although the heavy shackles of cynicism burden him. His ambivalence to Vinz proclaimed retribution to the local government, stipulates to the audience of his neutral virtues and how adversely he submits into a state of acquiesce to the police to try and do the antithesis of instigating any violence, despite him being the most copious in his strength.

(next slide) As a bit of trivia, Hubert says the quote "La haine attire la haine!" which translates to Hatred breeds hatred

Towards the start of the film, these traits are very much left open to interpretation, Kassovitz wants to elicit your own personal judgement about the characters and how you perceive them, opening up debates of whether the intents of the characters to get redemption are justified or not

Next slide

Although the characters aren't most principal to what this film is trying to represent, in fact it's how la haine is structured.

shrouded through the unfounded demeanors of our characters is an essence of subdued tenderness and how every second tenders on our lives.

Next slide

I think what this film aspires to indicate is how there is a fragility in our consciousness and the futility of deliberation.

What I mean by this is that due to having quite a tenuous storyline where you may perceive nothing to have happened up until the denouement,

A varied perspective is that due to vinz, hubert and said’s adopted spontaneous attitudes this is actually fostering their subsequent survival.

Next slide

In fact the pre-meditated notions of what the three boys plan to do to do usually turn out to be something detrimental, an example of this is is when at the end vinz gives hubert the gun seeing it as too much of a burden, which then causes his death when in a police confrontation, vinz is deprived of anything to protect himself and gets shot

Whereas contrarily due to their spontaneous actions, in a prior police confrontation, out of impulse, vinz decides to elusively conceal himself in the cinema to evade the police, which in collateral effect, causes said and hubert to miss the night train back to the parisian suburbs which delays the impending murder.

The form in which Kassovitz presents this is through a timer that appears before an event on screen like this *show timer slide*, while at first it may seem a bit ambiguous to what conviction each time indicates, what it truly connotes is how vulnerable the protagonists are and how each moment, second, minute and hour diminishes their immunity from their deaths towards the end.

I think another important factor that makes this film so special to me is the urgency of foreign cinema,

while marvel and other action films are being pumped out left right and centre it often doesn’t provide as much of a stage for foreign perspectives, foreign stories and diverse voices to get the recognition that they deserve and with the notion of streaming slowly killing of traditional cinema, films like La Haine are almost condemned to a niche of genres only being appreciated by those who seek out cinema,

although this is without any silver linings, films like parasite which famously won the best picture, despite being korean, and institutions like BFI, the criterion collection as well as many foreign directors prove that, to quote parasite director bong joon ho,
Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films
In conclusion, What la haine connotes ARE RHETORICS, are our actions dictating our own future or is the external forces of impalpable circumstance, the factor that solicits our fate.

As the film denotes so much throughout the film, two cardinal quotes: ‘it's not how you fall that kills you that kills you’ ‘its how you land’,
And ‘The world is yours’

the film's plot is futile/pointless, in fact you could even just assume that the film is about three radical teenagers that erupt and evade trouble across a tumultuous paris

Behind the layers of this film
, the only true substance of many of this films ordeals are the conclusions
and its influence over what is dealt in TRIBULATIONS

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