An adolescent loner meets an attractive young woman in a a gymnasium and tries to impress her with his skill as a basketball player. Unfortunately, his skill is virtually non-existent and his futile attempts to net the ball only embarrasses him further. Still, he is determined to succeed by imagining he is a black basketball player. —Wikipedia
As one of the most provocative young directors in France, Mathieu Kassovitz has made a name for himself directing films notable for both the inflammatory subjects they explore and the degree of controversy they incite. Kassovitz’s most celebrated feature, 1995’s La Haine (Hate in the U.S.), generated both critical exaltation and a burst of resentful recognition for its portrayal of racial tensions in Paris. The violence of this film was magnified in Kassovitz’s Assassins, a 1997 film that provoked both raves and rants for its unflinchingly graphic content.
Born in Paris on April 3, 1967, Kassovitz seemed destined for some sort of film career. The son of director Peter Kassovitz, Mathieu made his film debut in his father’s Au Bout du Bout au Banc in 1981. The same year, he appeared in L’Année Prochaine….Si Tout Va Bien with Isabelle Adjani. Kassovitz made his directorial debut ten years later, with Cauchemar Blanc, but it was his 1993 Metisse (also known as Café au Lait) that… read more
90's Cool. He looks a bit like John Turturro in this one. Anyway, Kassovitz is better than Godard. Do the right thing, and not propaganda. Un héros très discret.