1995 Directed by Mathieu Kassovitz
Aimlessly whiling away their days in the concrete environs of their dead-end suburbia, Vinz, Hubert, and Said - a Jew, African, and an Arab - give human faces to France's immigrant populations, their bristling resentment at their social marginalization slowly simmering until it reaches a climactic boiling point.
Vincent Cassel Hubert Koundé Saïd Taghmaoui Abdel Ahmed Ghili Souleymane Dicko Héloïse Rauth Benoît Magimel Edouard Montoute Marc Duret Joseph Momo Vincent Lindon Christophe Rossignon Mathieu Kassovitz Philippe Nahon Zinedine Soualem Rywka Wajsbrot Olga Abrego Laurent Labasse Choukri Gabteni Karin Viard Karim Belkhadra
Studio Image Cofinergie 6 Egg Pictures Kasso Inc. Productions La Sept Cinéma Les Productions Lazennec PolyGram Filmed Entertainment Canal+
Frames in Black and White, showing a mirror to the society which is still relevant today after 22 years of its release. Vinz stands in front of the mirror uttering the famous lines from Taxi Driver. He is angry towards society and how it is in a free fall.
La Haine starts after the riots which happened because one of their friend Abdel was brutalized by the police shortly before the riot and lies in a coma.
Vinz is filled with rage, he wants to prove something to himself and to others on how gutsy he is. He just wants his characteristic to be known as Gangster who killed a cop.
Hubert is a boxer and more mature from Vinz…
Kids by way of Tarantino. La Haine, while having a potent sociopolitical message, was more impressive to me in its crisp, clean style - hardly befitting the gritty subject matter, but oh, so pleasing to watch. Director Mathieu Kassovitz is clearly at home behind the camera and knows precisely how long to linger on a shot to maximize tension, or whip around a crowd to make a localized struggle seem much, much larger. Add a script unafraid to pull punches, but perfectly fine filming the mundane to deepen to depressing reality of life in the Parisian projects, and La Haine manages to be unrelentingly brutal without an over-reliance on graphic violence.
What is startling about La Haine's script is how…
La Haine, which translates to "hate", is one of the most powerful and affecting films ever made. It's a modern masterpiece of emotion, bringing the viewer on a ride of images and sounds that enhance the incredible characters brought to the screen. It's criminally under-seen, which is a sad thing to think about. La Haine deserves every ounce of praise and adoration.
The Awesome: The characters, the writing, the cinematography, the direction, the acting, the opening, the way it tackles the issues of modern society, the conclusion, the DJ sequence, the rooftop scene. I could go on all day about this wonderful masterwork of cinema. La Haine is ultimately about violence, and how these three main characters weave in and…
I'd meant to see La Haine ever since it was released in the cinema. I even rented it once – in the days when I worked in places like the one where it's set – but never got round to watching it.
And I really should have watched it earlier: just as I thought La Règle du Jeu might be easier to appreciate when you're a little older, La Haine strikes me as a film best seen in your teens or twenties.
Young guys on tough estates are kind of the same everywhere, but La Haine seems to take them more seriously than most films & TV. It feels totally real, yet this film also looks fucking cool in a way…
79/100
[originally written on my blog]
Because Kassovitz has done nothing worthwhile since, I was prepared to wonder what the hell I was thinking back then. Instead, I'm wondering what the hell happened, because he fully deserved his Best Director prize at Cannes. If only a tiny fraction of the handheld, slice-of-urban-life indies I endure every year were half as formally accomplished as this freewheeling powder keg. Performances feel credibly spontaneous without ever becoming mired in improvisational awkwardness, and the loose-limbed, episodic structure keeps defusing urgency to invigorating effect. Only the Chekhovian gun and inevitable violent ending disappoint. One-hit wonder.
This film works best when the 3 principle characters are together. There are 5-10 minutes (collectively) where the characters are separated and while it’s still engaging, it is slightly less interesting than the scenes where they’re together. This also has some of the best cinematography and camerawork I’ve ever seen, and the last 10 minutes of this movie are so visceral and flawless, I have to give this 5 stars. I am absolutely in love.
“¿quieres hacerle un favor a la humanidad? hay polis buenos, pero un skin bueno es un skin muerto”
la fotografía, los actores y la dirección están muy bien. mi problema con esta película es que muchas veces todo se convierte en un estereotipo de película sobre un suburbio (sobre todo los personajes) y las machiruladas que sueltan.
es mucho mejor que american history x, aunque eso es muy fácil, pero si leo otra vez que es la do the right thing francesa atacaré
Another post-Scorsese story of ambling, aggressive young men on the fringes of society that is nonetheless propped up by its rich visuals, its uniquely non-Aryan perspective, and its mild to moderate self-reflexivity. I wouldn’t precisely say that I’ve seen this exact movie before but it’s been established time and again that film as a medium can do exactly this kind of thing very well and I, myself, don’t really need much more of it in my life. I can’t help but feel bad for giving this movie such a low rating because if it was the first of its kind that I ever saw I could easily find myself loving it and hailing it as a masterpiece. But I won’t pretend to be objective. Bad timing. It happens and it can have a real effect on one’s experience of a thing. What’re ya gonna do?
Going to start reviewing more movies by just typing the title of the movie
La Haine.
I swear this is the last 5/5 for a little bit (I hope). But I have to give this a perfect score. The filmmaking is spectacular. All of the performances are raw and real. The cinematography is gorgeous. All of these elements really sell the fact that it takes place in the ghetto and makes the events of the film more believable. The production design amplifies the bleakness and brutality of the setting. This is a must-watch. (I’m not adding it to my favorites list until I rewatch it)
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