- #The world is ours la haine driver#
- #The world is ours la haine full#
- #The world is ours la haine series#
#The world is ours la haine series#
It’s not so much plotted as a series of events, one after another. When they go to central Paris, they are like fish out of water – it’s not a world in which they fit at all. Hubert, meanwhile, who works out in a vast basement with a punch bag, bemoans the havoc wreaked on the estate’s gym and very specifically articulates his desire to get out of the place. The image of the planet from the opening crops up on billboards adorned with the ironic slogan ‘the world is yours’, later amended by Sayid’s spray paint to ‘the world is ours’ (in French, he changes ‘vous’ to ‘nous’).
![the world is ours la haine the world is ours la haine](https://s3.amazonaws.com/criterion_images/current/current_1046_026.jpg)
#The world is ours la haine driver#
Vinz has clearly watched Taxi Driver (Martin Scorsese, screenplay Paul Schrader, 1976) because he reworks Robert De Niro’s iconic “You Talking To Me?” routine in French and makes his finger into the shape of a gun to fire it, with at one point an actual gun appearing in his hand and a policeman seen being blown away. They attempt to steal a car, they get into fights, they get kidnapped or run away. The narrative takes place over the course of 24 hours and feels like a free-flowing stream of consciousness as the three acquire the odd handgun or two, watch TV screens in flat interiors or public spaces for news of their friend’s condition or tangle with a variety of characters from girls at an art gallery to a contact in his upmarket, entryphone protected apartment, from skinheads to plain clothes cops. Round the corner, at the back of the last van, Sayid spray paints the legend ‘Sayid: Fuck The Police’ on the van’s doors. Smeary TV riot footage gives way to images of riot police standing sternly in a socially distanced line, anticipating conflict, beside large police vehicles. The tone is very much set by the opening. Through the course of 24 hours, they hang out first on the estate then later in Central Paris, travelling there by train. This particular banlieu is home to immigrants of various different ethnic backgrounds: Sayid (Saïd Taghmaoui) is Arabic, Vinz (Vincent Cassell) Jewish and Hubert (Hubert Koundé) Black.
![the world is ours la haine the world is ours la haine](https://slideplayer.com/80/13330668/big_thumb.jpg)
#The world is ours la haine full#
The banlieu is more like an English sink estate, full of people at the bottom of the social order, powerless, excluded. While ‘banlieu’ translates literally as ‘suburb’, the French banlieu is at the rough, opposite end of the social scale from cosy, English ‘suburbia’. Shot in stylish black and white and set in the aftermath of a riot in a Parisian banlieu, the film follows three young friends who beneath their tough guy street banter are concerned for their friend Abdel who has been hospitalized and may well die. Cue an image of planet Earth with a flaming Mototov Cocktail descending towards it. Each storey he passes in his descent, he says, “so far, so good…” “so far, so good…” “so far, so good…” It’s not how you fall, it’s how you land. There’s a verbal story opening and underscoring La Haine. Three disenchanted, immigrant youths from a banlieu estate take themselves to Central Paris for 24 hours – in cinemas from Friday, September 11th, on Blu-ray from Monday, November 16th and on BFI Player from Friday, December 18th Director – Mathieu Kassovitz – 1995 – France – Cert.