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…

“Heard about the guy who fell off a skyscraper? On his way down past each floor, he kept saying to reassure himself: So far so good... so far so good... so far so good. How you fall doesn't matter. It's how you land!”

A study on the mind of the modern, troubled youth.  A portrait of youthful pride, arrogance, naïveté, masculinity, and fragility.  A pessimistic view on life, society, and humanity.  A relevant and very real film, La Haine was an powerful watch.

Offering angst-ridden dark-humor, realistic drama, and a gut-punch of an ending, this movie makes you think - contemplate your very own placement in life.  It’s hard to explain.

While there are no real heroes or villains in…

« C’est l’histoire d’un homme qui tombe d’un immeuble de 50 étages. Le mec, au fur et à mesure de sa chute, il se répète sans cesse pour se rassurer : « Jusqu’ici tout va bien... Jusqu’ici tout va bien... Jusqu’ici tout va bien. » Mais l’important, c’est pas la chute. C’est l’atterrissage. »

Un film incroyable. Un jour dans la vie de trois amis dans les projets près de Paris et la marginalisation sociale de ces communautés de sans-abri et d'immigrants. La cinématographie et la mise en scène étaient magnifiques, mais les personnages ont rendu ce film parfait.
Quand le moment viendra, Vinz a le coeur trop fort pour suivre, et pourtant cela ne le sauve pas. Ni Hubert…