So Far, So Good: “La Haine”
When a society does not want to see the wound, the best thing is to film the pus. Mathieu Kassovitz, at only 27 years old, did that in 1995: he took a black-and-white camera and went into the heart of the Parisian “banlieues” to give viewers an uncomfortable image, that of a France that did not recognise itself in its own outskirts. The film was not born from an aesthetic whim, but from the outrage over the death of Makomé … Read more