The Hate in the Cruel World Spoilers

PROCESS is MORE important than RESULT.

In May 1968, French students were dissatisfied with the country's education situation and the severe social crisis caused by economic imbalances. They decided to lead a charge against the authoritarian system, sparking the famous "May 68."

In 1993, in Paris' 18th arrondissement, a young man was severely injured after being beaten excessively by police officers on patrol. This led to local youth seeking revenge against the police, which eventually escalated into a riot.

In 1995, Mathieu Kassovitz, then in his early twenties, directed the film "La Haine," once again drawing attention to the struggles of young people living in poverty in France. The film features three main characters: Vinz (played by Vincent Cassel), a Jewish youth who becomes increasingly arrogant after finding a lost police gun during a previous riot; Hubert (played by Hubert Koundé), a black friend who believes that there are good cops and often tries to calm Vinz's anger; and Said (played by Sami Bouajila), an Arab youth who likes to talk tough but backs down when faced with the reality of taking someone's life. He serves as an observer throughout the film, witnessing events unfold but unable to intervene.

"La Haine" condenses multiple storylines into a single day, following three characters as they aimlessly wander through the city, encountering various experiences. They face gang conflicts, police confrontations, and flee to Paris, where they break into a drug lord's mansion. They also endure abuse from corrupt cops, attempt to steal a car unsuccessfully, and are left wandering the night-time streets of Paris after missing their last train. The film uses the characters' diverse backgrounds (Jewish, African American, and Arabian) to symbolize the discrimination and isolation experienced by disadvantaged youth in France, who are often labelled as troublemakers. These characters are depicted as trapped in a cycle of tragedy.

The film's structure is divided by fragments of time throughout the day, akin to the floors of a skyscraper. Vinz's repeated reassurance to himself as he falls from a skyscraper, "So far so good... so far so good... so far so good," underscores the focus on the outcome rather than the process of falling. In the end, Vinz is shot in the head by a corrupt cop. Hubert, who has remained rational throughout the ordeal, hears the gunshot and takes hold of the police gun given to him by Vinz. He confronts the corrupt cop, leading to a tense standoff. The film concludes with a single gunshot, as the camera pans away, leaving the outcome ambiguous.

In the end, "La Haine" leaves it ambiguous who falls first. The director uses the confrontation between Hubert and the police to symbolize the deep-rooted conflict between marginalized youth and society. Whether it's the events of "May 68" or decades later, society's discrimination, neglect, and oppression towards them remain unchanged. In the past, students used stones to resist, while now they have guns. However, even in this chaotic society, the police officers' guns malfunction, causing even the most rational character, Hubert, to lose his temper. The film begins with a young man yelling "murderer" at riot police, criticizing the system and the oppressive environment. The ending of "La Haine" mirrors the beginning, reinforcing the central idea presented from the start. It emphasizes that what falls from the top of a skyscraper is not just an individual but also a societal problem. Society has been comforting itself with the notion that "so far so good," but the film challenges this complacency.

"La Haine" stands out for its inclusion of unconventional scenes and events within the traditional narrative. For instance, the surreal appearance of cows on the streets metaphorically represents the absurdity of society. The moment when the lights on the Eiffel Tower are extinguished symbolizes the predictable yet uncertain consequences in the protagonists' journey. One of the most peculiar scenes in the movie involves Vinz, Hubert, and Said encountering an elderly man in a bathroom. He recounts his experience of being exiled in his youth, which serves as a prophetic revelation of the inevitable fate awaiting the marginalized youth. The old man's statement, "You believe in God, but God doesn't believe in you," highlights their struggle to break free from the cycle of poverty and despair. It likens their situation to individuals left behind in Siberia, unable to catch up with the progressing world.

Director Mathieu Kassovitz, who has appeared in numerous films himself, places great emphasis on character development. He successfully portrays three distinct personalities among the main characters, particularly Vinz, who appears fearless on the surface but is actually quite cowardly on the inside. Vinz's mental state is shown to be on the verge of collapse through witnessing a shooting and having violent fantasies spurred by television footage. When he points a gun at a gang leader during an altercation with another group of thugs, Vinz never pulls the trigger despite Hubert's attempts to goad him on. Vinz's aggressive demeanour often masks his vulnerability, making him not only a victim but also a poignant representation of deeper societal issues.

"La Haine" employs black and white imagery throughout the film, which enhances the portrayal of internal and external conflicts and contributes to its tragic tone. The use of long takes in several scenes creates a sense of aimlessness and idleness in the main character, adding to the film's atmosphere. Additionally, frequent quick zoom-ins before settling on a specific shot help to re-engage the audience in the narrative. For example, the film uses these techniques effectively to highlight the significance of a police gun. Director Mathieu Kassovitz has stated that his influences come more from American directors than French arthouse filmmakers. His use of close-ups, particularly following the protagonist, reflects his admiration for directors like Spike Lee.

"La Haine" is often compared to "Trainspotting," but I see it more akin to "Taxi Driver." The protagonist's alienation and aimlessness in the film echo the existentialist themes of "Taxi Driver," both critiquing a troubled society. This critique extends beyond just the local context to encompass our broader urban environment. It prompts us to reconsider the relationship between young people and the government, highlighting that the issue is more complex than simply a lack of promotion opportunities. The film suggests that the patriarchal establishment fails to truly understand the desires of young people, resorting instead to superficial gestures like flashing slogans such as "The world is yours," as seen in movies, to maintain their hypocrisy and deceive everyone.