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La Haine

1995  98 MN


 8.0



La Haine on IMDb
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Mathieu Kassovitz
  Director




After a chaotic night of rioting in a marginal suburb of Paris, three young friends, Vinz, Hubert and Saïd, wander around unoccupied waiting for news about the state of health of a mutual friend who has been seriously injured when confronting the police.

 Release Date

May 31, 1995

 Runtime

1h38m (98 min)

 Budget

$ 2,600,000

 Revenue

$ 15,300,000


 Top Billed Cast

 Vincent Cassel
 Vinz
 Hubert Koundé
 Hubert
 Saïd Taghmaoui
 Saïd
 Abdel Ahmed Ghili
 Abdel
 Souleymane Dicko
 Santo
 Joseph Momo
 Ordinary Man


 Written by

Mathieu Kassovitz Screenplay

 Tagline

How far you fall doesn't matter, it's how you land…

 Videos




 Cast

Vincent Cassel
  Vinz
Hubert Koundé
  Hubert
Saïd Taghmaoui
  Saïd
Abdel Ahmed Ghili
  Abdel
Souleymane Dicko
  Santo
Joseph Momo
  Ordinary Man
Héloïse Rauth
  Sarah
Rywka Wajsbrot
  Vinz's Grandmother
Olga Abrego
  Vinz's Aunt
Laurent Labasse
  Cook
Choukri Gabteni
  Saïd's Brother
Benoît Magimel
  Benoît
Mathilde Vitry
  Journalist
Christian Moro
  CRS TV Journalist
Edouard Montoute
  Darty
Félicité Wouassi
  Hubert's Mother
Thang-Long
  Grocer
Cut Killer
  DJ
François Levantal
  'Astérix'
Julie Mauduech
  Art Gallery Girl #1
Karin Viard
  Art Gallery Girl #2
Peter Kassovitz
  Art Gallery Owner
Christophe Rossignon
  Taxi Driver
Vincent Lindon
  Really Drunk Man
Mathieu Kassovitz
  Young Skin
Anthony Souter
  Skin #1
Tadek Lokcinski
  Toilette Man
Virginie Montel
  Subway Homeless
Andrée Damant
  Concierge
Karim Belkhadra
  Samir
Marc Duret
  Inspector 'Notre-Dame'
Eric Pujol
  Assistant Police Officer
Philippe Nahon
  Roof Police Chief
Sébastien Tavel
  Hospital Young Police Officer
François Toumarkine
  Hospital Police Chief
Zinedine Soualem
  Paris Plainclothes Police Officer #1
Bernie Bonvoisin
  Paris Plainclothes Police Officer #2
Patrick Médioni
  Cave CRS Officer
Anthony Soutter
  

 Crew


Mathieu Kassovitz
  Screenplay
Mathieu Kassovitz
  Director
Mathieu Kassovitz
  Editor
Christophe Rossignon
  Producer
Gilles Sacuto
  Production Director
Alain Rocca
  Associate Producer
Adeline Lecallier
  Associate Producer
Pierre Aïm
  Director of Photography
Scott Stevenson
  Editor
Giuseppe Ponturo
  Art Direction
Virginie Montel
  Costume Design
Gilles Conseil
  Stunts
Vincent Tulli
  Sound Designer
Dominique Dalmasso
  Sound Mixer
Nicolas Becker
  Foley Artist
Dominique Colin
  Color Grading
Jacques Monge
  Steadicam Operator
Philippe Guégan
  Stunt Coordinator
Eric Pujol
  First Assistant Director
Stratos Gabrielidis
  Assistant Editor
Marie Spencer
  Assistant Camera
Axel Cosnefroy
  Assistant Camera
Jean-Claude Barny
  Casting
Georges Diane
  Camera Operator
Guy Ferrandis
  Still Photographer
Mikaël Monod
  Gaffer
Richard Guille
  Assistant Art Director
Sylvie Randonneix
  Post Production Supervisor
Jean-Claude Lother
  Still Photographer
Patrick Médioni
  Stunts
Ludovic Bernard
  Second Assistant Director
Sophie Benaiche
  Makeup Designer
Nathalie Vierny
  Script Supervisor
Dominique Vieillard
  Sound Mixer
Pascal Guégan
  Stunts
Christian Hening
  Stunts
Vincent Blasco
  Key Grip
Alexander Bugel
  Key Grip
Emmanuel Ughetto
  Boom Operator
Abdel Halim
  Stunts
Jean-Louis Laher
  Property Master


 Quotes

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 Reviews


 New Review

Inventive punch
By Jack Anderson on July 29, 2020
 8

PUNCH
Filmmaker Mathieu Kassovitz is an avid boxer and directed this movie the same way he (probably) boxes. The movie is a punch.

POETRY
Released in black and white (but filmed in color), the film tells a story of the Parisian "banlieues" in the most beautiful of ways. There is lots of poetry in the film.

INVENTIVE
Kassovitz is at the time a young filmmaker that has lots of artistic ambition. You can see in the film that he loved the process and kept inventing. There are many beautiful shots, but those are not gimmicks. They truly support the story.

VERDICT
I give it 8 out of 10. Superb.


CRCulver

Matthieu Kassowitz's La Haine (Hate) is a portrait of youth disenfranchisement and the ensuing rage set in the public housing projects outside Paris. Before this film was released, many foreign viewers knew only the well-dressed, white, reserved and educated France depicted in e.g. films of the 1960s New Wave. Even many French people were unaware of the darker undercurrents of their own society, as no film had dared to handle this subject matter before. La Haine was a bombshell. While shot in 1995, it remains entirely topical today, as riots have continued to make the news in recent years.

La Haine follows one day in the lives of three young men of different ethnic backgrounds all born and raised in one particular housing project: the aggressive Jew Vinz (Vincent Cassell), the insecure, clownish Arab Saïd (Saïd Taghmaoui) and the more level-headed, pensive sub-Saharan African Hubert (Hubert Koundé). The film opens on a spring morning, in the aftermath of a riot which has rocked these youths' housing project. Some cars and buildings are destroyed, and the news reports that a police officer has lost his gun in the chaos of the night before. During the 24-hour period before the film's shocking ending, this trio tours the bittersweet environment of their housing project (violence and poverty on one hand, loving families on the other) and, in an effort to pick up money owed to them, they navigate the alien environment (rich, educated, white) of downtown Paris.

This is not only a revelatory film in showing viewers a side of France they had never seen before, but it is also extremely entertaining. The performances by these relatively unexperienced actors are totally convincing, Vincent Cassell in particular. Kassowitz shuns his country's own film tradition and instead sculpts the action under inspiration from the USA. However, the "urban", "hip-hop" aesthetic he employs does not lower the film to the more vacuous Hollywood productions but instead is at the level of Spike Lee and Scorsese. The director's decision to print the film in black and white has imbued it with a gravitas that makes it timeless. That said, in spite of the fine acting and ethnographic detail, the plot itself is rather mundane, which holds me back from giving this too high a rating.



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