When he was just twenty-nine years old, Mathieu Kassovitz took the international film world by storm with La Haine (Hate), a gritty, unsettling, and visually explosive look at the racial and cultural volatility in modern-day France, specifically in the low-income banlieue districts on Paris’s outskirts. Aimlessly whiling away their days in the concrete environs of their dead-end suburbia, Vinz (Vincent Cassel), Hubert (Hubert Koundé), and Saïd (Saïd Taghmaoui)—a Jew, an African, and an Arab—give human faces to France’s immigrant populations, their bristling resentment at their social marginalization slowly simmering until they reach a climactic boiling point. A work of tough beauty, La Haine is a landmark of contemporary French cinema and a gripping reflection of its country’s ongoing identity crisis. —The Criterion Collection
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
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Oh la haine, je ne comprends pas cette haine.
Como filmar a segregação social, um tema tão sensível e complexo que tem vindo a ganhar uma importância extrema nos nossos dias… read review
As i see it is a very nice and raw portrait of young people from a Paris suburb. The use of black and white is good and gives the movie
a mood of noir, letting you get a good point of view of the… read review