Those of ethnic minority are living in the poorest sections, like in The City of God they are pushed to the outskirts in order to keep the image of wealthĬomparing it to The City of God and Ameros Perros there a similarities and differences: We see the rich apartment that reflects the wealthy part in Paris They can’t afford things like schoolbooks, food, and running a gym Shows the hostility that ferments in the estate Gender conflict as well (The sister, The grandma, the other sister, the women in the art gallery) There is conflict between those in the upper class and the lower class Through cultural, social, and political analysis, in this paper I make three arguments: firstly, La Haine made visible a population in France that was once largely obscured and still today stigmatized. Between one another and their conflicting ideals- Vinz: Depravity, Said: Innocence, Hurberg: The morality La Haine, then, remains an important object in French media and culture, which is why it is both interesting and important to investigate today. Being with each other gives them power and resistance: On the rooftop against the police, in the art gallery against the rich guy, against the skinheads. The film shows power, poverty and conflict within the estate of Paris: The fluidity of the film is almost seamless The way segments and time was split (using subheadings) Watching the film, what really stood out to me was the way the film shot. La Haine follows vinz, Hubert and said, three young men trapped in the Parisian economic, ethnic and social underclass. After local youth Adel is beaten unconscious by police, a riot ensues on his estate during which a policeman loses his gun. Starkly shot in black and white to show a Paris not on any map, the film deals with Frances intolerance towards outsiders. Superbly acted and brilliantly executed, La Haine will tear through you like a bullet.La Haine (1995): dir. Taghmaoui also turns in an outstanding performance, offering comic relief to balance the otherwise unbearable tension. Hudson explained that older definitions of fabulous relate to being mythical or without a basis in reality, which coincide with the idea that Amélie aligns itself with the literary tradition of magical realism. Il faut espérer que le dérapage de samedi au Palais de Rumine de Lausanne ne restera pas la trace principale et ironique de l’opération «Chemins de la haine», organisée par l’association Disputons-nous de l’ancien secrétaire d’Etat Charles Kleiber: cela. Playing Vinz, Cassel radiates with a blistering intensity throughout, while Koundé offsets him with a cool self-assurance. Un week-end de débats consacrés à la haine, qui se termine en pugilat exposé en long et en large sur les réseaux sociaux.
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Despite a meditative pace, there are shades of Scorsese in his kinetic camera moves, and in a scene lifted straight from Taxi Driver where Vinz poses in the mirror with a gun, snarling, "You talkin' to me?" Evidently Kassovitz sees things in black and white, which might explain his choice of a striking monochrome print.īut it's the conviction and bold invention with which Kassovitz tells the tale that makes it utterly compelling. This is a fatalistic account of society's decline and it's plainly one-sided - the only cop who shows sympathy for the "troubled youth" is ineffective among an army of bigots and bullies.
"A FATALISTIC ACCOUNT OF SOCIETY'S DECLINE"Ĭounting down 24 hours, Kassovitz never gives the illusion of a happy ending. It's left to Vinz's cohorts, the jocular Saïd (Saïd Taghmaoui) - also Arab - and subdued African boxer Hubert (Hubert Koundé) to talk him out of his bloody plan as they embark on a loafing odyssey from the immigrant neighbourhoods to the big city. Delving into the generational, racial, and class divides of his native France, Kassovitz offers a fearless - if unreservedly pessimistic - attack on the frontlines of power.ĭuring a riot in the outskirts of Paris, police beat an Arab teenager (Abdel Ahmed Ghili) into a coma, fuelling a fire of hatred inside Vinz (Vincent Cassel) - a Jew who swears to "whack" a cop if the boy dies. The result is an explosion of scathing social commentary and dynamic storytelling. nature of violence (as Kassovitz said, la Haine attire la Haine, or hate breeds hate). Writer-director Mathieu Kassovitz butts European urbanity up against American street style as kids clash with cops in suburban Paris. Why its called Prisoners Explaining the plot of Prisoners. The film follows three young men and their time. It's been labelled French cinema's answer to Boyz N The Hood, but La Haine (Hate) has a flavour all of its own. Plot Summary (6) 24 hours in the lives of three young men in the French suburbs the day after a violent riot.