IMDb > La Haine (1995)
La haine
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La Haine (1995) More at IMDbPro »La haine (original title)

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La Haine -- Trailer for La Haine

Overview

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8.1/10   78,291 votes »
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Director:
Writer:
Mathieu Kassovitz (written by)
Contact:
View company contact information for La Haine on IMDbPro.
Release Date:
23 February 1996 (USA) See more »
Genre:
Tagline:
So far, so good See more »
Plot:
After local youth Abdel is beaten unconscious by police, a riot ensues on his estate during which a policeman loses his gun. The gun is found by Vinz who threatens he will kill a cop if Abdel dies. Full summary » | Add synopsis »
Plot Keywords:
Awards:
8 wins & 13 nominations See more »
NewsDesk:
(79 articles)
User Reviews:
the most important thing isn't the fall but the landing See more (156 total) »

Cast

  (in credits order) (verified as complete)

Vincent Cassel ... Vinz
Hubert Koundé ... Hubert

Saïd Taghmaoui ... Saïd
Abdel Ahmed Ghili ... Abdel
Solo ... Santo
Joseph Momo ... Ordinary Guy
Héloïse Rauth ... Sarah
Rywka Wajsbrot ... Vinz's Grandmother
Olga Abrego ... Vinz's Aunt
Laurent Labasse ... Cook
Choukri Gabteni ... Saïd's Brother
Nabil Ben Mhamed ... Boy Blague

Benoît Magimel ... Benoît
Medard Niang ... Médard (as Médard Niang)
Arash Mansour ... Arash
Abdel-Moulah Boujdouni ... Young Businessman
Mathilde Vitry ... Journalist
Christian Moro ... CRS TV Journalist
JiBi ... Fat Youth
Edouard Montoute ... Darty
Félicité Wouassi ... Hubert's mother
Fatou Thioune ... Hubert's Sister
Thang-Long ... Grocer (as Thang Long)
Cut Killer ... DJ
Sabrina Houicha ... Saïd's Sister
Sandor Weitmann ... Vinz Lookalike (as Sandor Weltmann)
François Levantal ... Astérix
Julie Mauduech ... Gallery Girl

Karin Viard ... Gallerly Girl
Peter Kassovitz ... Gallery Patron

Vincent Lindon ... Really Drunk Man
Christophe Rossignon ... Taxi Driver

Mathieu Kassovitz ... Young Skinhead

Anthony Souter ... Skin
Florent Lavandeira ... Skin
Teddy Marques ... Skin
Samir Khelif ... Skin
Tadek Lokcinski ... Monsieur Toilettes
Virginia Montel ... SDF Metro (as Virginie Montel)
Andrée Damant ... Concierge
Marcel Marondo ... Bouncer
Karim Belkhadra ... Samir
Marc Duret ... Inspector Notre Dame
Eric Pujol ... Assistant Policeman

Philippe Nahon ... Police Chief
Sébastien Tavel ... Hospital police officer
François Toumarkine ... Hospital police officer
Jose-Philippe Dalmat ... Hospital Police Officer (as José-Philippe Dalmat)

Zinedine Soualem ... Plainclothes Police Officer
Bernie Bonvoisin ... Plainclothes Police Officer
Cyril Ancelin ... Plainclothes Police Officer
Patrick Médioni ... CRS Cave
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Directed by
Mathieu Kassovitz 
 
Writing credits
Mathieu Kassovitz (written by)

Produced by
Adeline Lecallier .... associate producer
Alain Rocca .... associate producer
Christophe Rossignon .... producer
Gilles Sacuto .... line producer
 
Original Music by
Assassin 
 
Cinematography by
Pierre Aïm 
 
Film Editing by
Mathieu Kassovitz 
Scott Stevenson 
 
Production Design by
Giuseppe Ponturo 
 
Costume Design by
Virginie Montel 
 
Makeup Department
Sophie Benaiche .... makeup artist
 
Production Management
Sophie Quiédeville .... unit production manager
 
Second Unit Director or Assistant Director
Ludovic Bernard .... second assistant director
Eric Pujol .... first assistant director
François Pujol .... third assistant director
Henri Pujol .... assistant director
 
Art Department
Mélissa Ponturo .... art department trainee
 
Sound Department
Nicolas Becker .... foley artist
Dominique Dalmasso .... sound
Fred Mays .... post-synchronization
Laure Monrréal .... sound trainee
Vincent Tulli .... sound
Emmanuel Ughetto .... boom operator
 
Visual Effects by
Rodolphe Chabrier .... digital effects
Antoine Simkine .... visual effects executive producer: Duboi
Rip Hampton O'Neil .... director of reseach and development: DuboiColor (uncredited)
 
Stunts
Bernard Chevreul .... stunts (as Bernard Chevreuil)
Gilles Conseil .... stunts
Mohammed Enahal .... stunts (as Mohamed Enahal)
Pascal Guégan .... stunts
Philippe Guégan .... stunt coordinator
Christian Hening .... stunts
Patrick Médioni .... stunts
 
Camera and Electrical Department
Vincent Blasco .... key grip
Axel Cosnefroy .... assistant camera
Georges Diane .... camera operator
Guy Ferrandis .... still photographer
Hervé Lode .... second assistant camera
Jean-Claude Lother .... still photographer
Jacques Monge .... Steadicam operator
Mikael Monod .... gaffer
Marie Spencer .... first assistant camera
 
Editorial Department
Stratos Gabrielidis .... first assistant editor
 
Other crew
Thierry Artur .... production accountant
Laure Darie .... production secretary
Guillaume Favreau .... assistant manager
Jodie Foster .... presenter
François Guerrar .... press attache
Abdelnabi Krouchi .... location manager
Dany Martin .... press attache
 

Production CompaniesDistributors
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Additional Details

Also Known As:
"La haine" - France (original title)
"Hate" - International (English title) (literal title)
See more »
Runtime:
98 min
Country:
Language:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Company:

Did You Know?

Trivia:
Mathieu Kassovitz was inspired to write the screenplay when one of his friends - a fellow kid from the projects - died in police custody.See more »
Goofs:
Errors in geography: The trip across Paris is strange : the three characters should arrive at the Saint-Lazare station(north-west of Paris), coming from ChanteloupLesVignes. Yet, when they arrive, they are in front of the Montparnasse station(south of Paris), on the Rennes street. Then, they go to Asterix place, on the boulevard Pierre Ier of Serbia, close to Iena Place (west of Paris), and when they try to catch the last train, this time they are at the Saint-Lazare station, the right one to go back. But then, when they are on the roof, they see the Eiffel Tower and the Trocadero from the south-east, being probably close to Montparnasse station. Then, they come across a sculpture, L'Ecoute, in the Halles Garden(center of Paris), before going back. Hence, their trip goes : south, west, north-west, south and center of Paris.See more »
Quotes:
Saïd:Canardo. Señor canardo.See more »
Movie Connections:
References Night of the Living Dead (1968)See more »
Soundtrack:
Eugene's LamentSee more »

FAQ

This FAQ is empty. Add the first question.
33 out of 56 people found the following review useful.
the most important thing isn't the fall but the landing, 2 May 2006
Author: dbdumonteil

"La Haine", probably one of the most momentous French movies of the nineties caused a stir when it opened in 1995 so much so that it became a big social phenomenon. It heralded a genre: the "film De Banlieue" whose backdrop is high-risk French suburbs and in its wake, other movies emerged like "Bye-Bye" (1995) or "ma 6-T Va Crack-Er" (1997). "La Haine" remains Mathieu Kassovitz's best moment. Afterwards, he didn't cease to disappoint me. "Assassin(s)" (1997) left me uncomfortable and queasy and "les Rivières Pourpres" (2000) was an absolute turkey. I haven't seen "Gothika" (2003) but he shot it with the Hollywood presence on his back and I fear the worst.

To better be immersed in his plan, Kassovitz shot his film in one of these high-risk French suburbs (I can't remember its name but you can check it in the "filming locations" rubric when you arrive on the page of the film on this site). This gives his movie an ultra-realist sensation which rings true. In the space of a day, his camera follows a threesome of ruffians. There's Vinz (Vincent Cassel) who acts the tough guy. He is proud of having stolen the gun of a cop and hopes to make good use of it. When he is asked to make an effort of reflection, he loses his temper. Hubert (Hubert Koundé) a pacifist who craves to get out of this daily hell but where to go? He also knows that hate breeds hate. It's both the catalyst of the riots and adds fuel to the fire in the incessant conflicts. And also Saïd (Saïd Thagmaouï), a brazen teenager. The three of them wander in their neighborhood and in Paris between visiting of friends, relationships with the riffraff, the police, arguments, reconciliations and foolish things. An ordinary day during which the trio appears as prisoners of their suburbs and have a life with no horizon. A day which will lead to the inevitable, marked out by the time which often appears on a black screen.

Kassovitz did his best to create a stylish film and it paid off well. It was a good idea to have shot his film in a black and white cinematography because it bestows it with a very gritty aura; sometimes there's a documentary whiff which pervades the film. His camera work which commands admiration makes juxtapose travelings, static shots and circular movements according to the vibe a sequence could convey. It also helps to enhance the scenery which is perhaps the fourth main actor of the film after the trio. Overrall, his film is a hard-hitting assessment of a faltering universe (the high-risk suburbs) in which latent tensions and hate reign and it can awake at any time in violence. This hate in question which the inhabitants of these suburbs feel towards the cops is also smoldered in the cops and I wonder if Kassovitz indicts their sometimes intolerable demeanor, especially when some ruffians are kept in police custody. In the beginning of the film, the audience learns that a suspect, Abdel is in a coma at hospital because he was badly injured by the cops during questioning. When they learned this, the toughest guys of these suburbs sparked off a riot. In a way, the attitude of the police helps to fuel the hate and to separate farther the gap and the incomprehension between the inhabitants of these suburbs and the police. That said, Kassovitz doesn't generalize. Not all the cops are monstrous. Check the two sequences when in the first one, a policeman tries to make the riffraff understand in a sensible manner that they can't stay on the roof of a building and the second sequence when Vinz, Hubert and Saïd are in Paris and they ask their way to a policeman who guides them in a polite way.

The actors were discerningly chosen and perfectly directed. It seems that Kassovitz fostered improvisation. It was the right method to confer his film with an authentic feeling. They deliver dialogs full of slang, coarse lines and sometimes they're inaudible so you'll have to be very attentive to catch what they say. However, this drawback isn't really irritating and was surely wanted by the director to reinforce the unique spontaneity of the film. With his build and his face of ruffian, Vincent Cassel was ideally cast as the stubborn Vinz while his two main partners are amazingly true to life. And there are some famous French actors who have cameos and who weren't afraid of having demeaning parts like Vincent Lindon, a drunkard or Zinedine Soualem, a sadistic cop.

Kassovitz remains as objective as possible and doesn't offer solutions to solve these problems. More than ten years after it reached the streets, his films is still a topical one and the riots and violent incidents which broke out in high-risk suburbs in many French cities the last fall alas show that these tensions aren't alas ready to subside.

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Is La Haine an anti-Police film? harvxx
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100 things we've learned from 'La Haine' abdelchaouch221
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