La haine ending
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‘I see very well what it signifies,’ says Barthes, ‘that France is a great Empire, that all her sons, without colour discrimination, faithfully serve under the flag, and that there is no better answer to the detractors of an alleged colonialism than the zeal shown by this Negro in serving his so-called oppressors’ (1972: 125–6). Kassovitz’s intellectual starting point is the insight Barthes gives us as he famously sits down at the barber’s shop and picks up a copy of Paris Match with an image on the front cover of a young black boy in uniform, looking up and saluting the French flag. We hear a shot but are left uncertain who may now have been killed.Īs he set out to make this film, Mathieu Kassovitz’s spiritual mentor could well have been Roland Barthes.
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Back on their home turf, Vinz is accidentally killed by plain-clothes police and Hubert points a gun at the officer responsible for the death. They journey into the centre of Paris and then back out to the working-class satellite town where they live, and as they do so they are confronted firstly by the well-to-do middle class, then by racist elements in the police force, and finally by right-wing skinheads. Said observes, watching events develop around him and treading the difficult middle ground between his two friends. Hubert, searching for ways to create something positive from his life, is more thoughtful and seems more balanced. Vinz has found a handgun and seems crazy enough to use it. Three friends from different ethnic backgrounds experience the prejudices of French society in the 24 hours after a ‘race’ riot.