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“A beautiful work of cinematographic art that an make us more aware of certain realities” ( Alain Juppé French Prime Minister at the time of the films release) At the time of La Haine’s release we were being shown imagery that may have been underappreciated, the cultural significance of this film is however paramount, offering a voice to the migrant population of France who have historically been under-represented and marginalized and “giving cultural expression to a side of France not readily visible” (Siciliano) However it can also serve to change the world, highlighting issues and giving audiences the information and motivation to shift social consciousness. Cinema can serve to placate and reinforce dominant messages. In 1995, at the Cannes Film Festival, young director Mathieu Kassovitz simultaneously received the honor of a standing ovation whilst the police at the screening turned their backs to him.
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How We Land Graffiti art referencing La Haine, photographed by ragingr2 on Flickr
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“Social problems were part of the discourse of young people from (French) immigrant families as early as the 1980s, they were not really taken up by academics until the second half of the 1990s” (Duprez)Ĭould La Haine helped gain attention for this issue, leading to increased academic recognition?
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Along with this the on-going migrant crisis in Europe is continuing to cause issues of discrimination across the continent, this movie tackled that issue more than 25 years ago and yet is still highly topical, if not more poignant than ever. The cultural relevance of such anti-establishment cinema couldn’t have come during a more turbulent summer, with much of the world experiencing race protests and a significant shift in public attention going towards the Black Lives Matter movement.
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The key themes of this film however still haunt much of this world today and late last year La Haine received a timely 4k upgrade 25 years after its release.
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This furthers the realism aesthetic with panning shots over the tower blocks revealing their size and demonstrating the insignificance of the characters who live within. Kassovitz opted to film on location and this furthers the cultural connection to the Banlieue with many of the residents acting as extras instead of outsourcing to actors. They bicker and fight over little, have seemingly violent tendencies and atrocious language, echoing tones of Tarantino and Boyle with intertextual references and its unfiltered style throwing you into the lives of these three French youths. In France this has become something of a moral panic, however rightly so, La Haine plays on this though the depiction of its inhabitants. Screenshot from YouTube, shot style is reminiscent of a number of Tarantino films, posted by AKOLLLD, images as fair usage for educational purposes The film follows three young French minorities Hubert, Vinz and SaÏd, who live in the banlieue, (essentially the French equivalent of a ghetto) these housing projects home much of Frances migrant population, segregating them from the cities and keeping them in lower socio-economic areas. This piece of French social realist cinema shook the world at the time of its release, with its gritty depiction of police brutality and systematic racism in the outskirts of Paris. This is one such film! With its thematic importance creative style and killer (cut) hip hop soundtrack transporting us to the world of the banlieue and what life inhabiting it may be like. La Haine’s 2020 Trailer, posted by the BFI, Images as fair usage for educational purposes How We Fallįrench cinema has often subverted our expectations, leading to new innovations and bold statements produced on screen.