"Our ghettos are very interesting places," he said, "where races and cultures mix and are a source of life. Kassovitz shot his film on location in a housing project twenty miles outside Paris. I clearly wanted people to see it that way, even if I show some good guys among the cops and some dirty bastards among the youth." "I wanted to make a provocative film is definitely a statement against the cops. But since it's the cops who are armed, they're the ones liable to push things too far. "When Makomé died in Paris," Kassovitz said, "the victim of police brutality, I asked myself, 'How does one get into this vicious cycle of hatred where the young insult the cops who insult the young?' You can be sure that there's a bad ending each time. Its 28-year-old writer-director, Mathieu Kassovitz, was inspired by a 1993 incident in which a Zairian youth named Makomé was fatally shot while in French police custody. The result is that La Haine achieves a feeling of hyper-reality as it unravels the genesis of the hatred it depicts. There's also overlapping dialogue, jump cutting, and a mix of professional actors and non-actors on screen. The film covers less than 24 hours, with title cards noting the passage of time, and striking, black-and-white, documentary-style camerawork creating a feeling of authenticity.
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When they find a policeman's gun that was lost in the riot, they vow revenge and head toward Paris, planning to kill a policeman if their friend dies. In the film, three young men, of Jewish, Arab, and black African descent, seethe with anger against the police and the establishment for the beating that left their friend in a coma and triggered a riot.
#La haine synopsis full
Share La Haine, or Hate, caused a sensation when it was released in France in 1995 for its gritty, vivid and shocking snapshot of life in the "banlieue," or the suburban Parisian housing projects full of low-income immigrants.