For the second half of the film, the trio venture into the centre of Paris to collect money owed to Saïd by the drug dealer Asterix. Kassovitz emphasises this by using wide-angle and carefully composed cinematography, injecting beauty in even the most brutal and homogenous high-rises. For Hubert, Vinz and Saïd they are home - despite the protests and tension - and where they feel most comfortable. Existing in the outskirts of the city, they can no doubt be challenging places to live but are also communities rich in creativity, culture and sporting achievement. The presence of the banlieues, not just physically but figuratively too, hangs heavily over the film.
La Haine is a far cry from the City of Love we usually see on film. The use of the word ‘savagery’ is not incidental.
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In recent years she has begun co-opting the term “ ensauvagement ”, which roughly translates as “descent into savagery”, from radical right fringe literature into various speeches and TV appearances. And was runner up to Emmanuel Macron in the most recent election.īut in Marine Le Pen’s case, the apple doesn’t fall far from the tree and anti-immigration and anti-Islamic controversy, in particular, has never been far away. She expelled several of the party's most controversial members, including her father.
More recently, his media-savvy daughter - Marine, who won the leadership of the party in 2011 - rebranded the party to the ‘National Rally’, partly in an attempt to sway urbanites and those disillusioned with the two major political parties. Hubert elegantly articulates Le Pen’s popularity amongst the ‘silent majority’ as the friend’s world descends into chaos shortly after finding out Abdel has died in hospital - " They vote far-right but aren't racists. Jean-Marie Le Pen, a proud nationalist, founded the National Front in 1972 and stood for election five times, he collected 15% of the first-round vote upon the film's release in 1995. The three friends represent a new, mosaic French identity and 25 years on it’s one still straining for acceptance in a country haunted by colonialism and the threat of a Le Pen in government. The theme of identity is so essential to La Haine it demands contemplation of one's own. It was also a striking filter of my beloved hip-hop culture through a European lens. Vulnerability wrapped up in macho bravado with a clenched fist for a face.
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Both collections helped raise money for Ecole Kourtrajme, an independent film school in Paris and One Association, which supports youth in Chanteloup-les-Vignes, where the movie was filmed.įrom a personal perspective - as a secular, Jewish teen growing up in the suburbs of east London - watching La Haine for the first time was something of a revelation to see a different portrayal of Jews in cinema or TV in the shape of Vincent Cassel’s Vinz.
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And as if to go full circle, the streetwear culture La Haine inspired has led brands like Aime Leon Dore and Reebok to release limited-edition capsule collections in time for the 25th anniversary.