![]() I began to think about how that cop could get a gun out and shoot a kid in the head while he was handcuffed. When I arrived, there were people, not protesting, more like mourning – it was the parents of the victim, of the kid. I went there because I used to hang out in that neighbourhood. I heard on the radio that a kid got shot by police in the 18th arrondissement. Mathieu Kassovitz: It was a riot in Paris. Or there is the constant return to a ticking clock, which helps to give the narrative a dramatically urgent rhythm and unremitting tension. Such moments of bravura invention occur throughout La Haine – as when director of photography Pierre Aïm uses an ultra-wide landscape ratio to film the three central characters in their banlieue surroundings, dwarfing them against their neighbourhood and making them seem insignificant, but switches to a long lens to shoot them in close-up once they move to the centre of Paris later in the film, denying the French capital its usual majesty. For while on the surface the story Kassovitz had written, about the last 24 hours three friends would spend together, might appear to be straight-up social realism, the way he chose to tell it often feels closer to a stylised magic realism, from the opening shot of the Earth from outer space onwards. Kassovitz, 27 at the time, won the Best Director prize, in recognition of the elements that made the work so explosively new and exciting. ![]() ![]() ![]() When the film opened in Competition at the Cannes Film Festival in 1995, its impact was immediate. ![]()
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