It’s this connection, the perceived lack of political change when it comes to police brutality, that has troubled Lahene for decades. a re-release The release date of the movie commemorating his 25th birthday is black lives matter movement Protesting the number of deaths at the hands of police officers. After Naher’s murder, the musical’s production team decided to change the film’s subtitle. Juskiti Tut Va Bien (so far, so good) to a more pessimistic expression that reflects your current mood. Juskuichi lian na change (So far, nothing has changed.) “It was a shock,” producer Farid Benragha told the BBC. Once they started auditioning for the show, people just flocked to talk about it. “People who had never been to a show or a movie came to us just because they wanted to tell us their personal experiences. It was incredible. Some even cried. This movie has something to do with certain people.” Babre Policière [“police mess-up”, a term used to describe the excessive use of force by the police]And these subjects are still not properly addressed.
“Cultural influence”
The issues portrayed in this film feel just as pressing, if not more so, 30 years later. Rahene is making a comeback at a time when racism and xenophobia are on the rise across the United States. investigation research shows that in 2023, reports of anti-Semitic and anti-Muslim acts increased by 284% and 29%, respectively, and other types of racist acts increased by 21%). For many French people, it’s hard not to look at the statistics and think of Hubert’s line that gave the film its name. ”La Haine’s attire, La Haine (hatred begets hatred). ”
Emmanuel Macron’s government has moved to the right. safetyIdentity and Immigration , Passing controversial immigration bill and suppress gilets jaunes protests. But the long-standing debate about police brutality did not take place. Dissolution general election campaign in this country – Instead, it was ruled by far-right anti-immigrant rhetoric and the cost of living crisis. “These deaths have been recorded and counted since 1996, but no policies have been put in place to stop them,” Diallo said. Considering this, Kassowitz’s pessimism about movies and their power to change things is perhaps not surprising. “I don’t think it makes sense to make political films anymore,” he told BBC’s Hard Talk in a recent interview. But in our conversation, he gave us some nuances. “I still believe in political films, but they’re not as essential as they used to be,” he said, adding, “People have more work to do.”
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But what La Haine may have lacked in political influence, it more than made up for in cultural influence. As the first major film to highlight the hardships of France’s multicultural suburbs, the film opened the door to a generation of films about the banlieues, often produced by people from such backgrounds. Ta. “The difference is that now they [the banlieues] It is represented by Banliusar [suburbanites]” says Kassowitz, who grew up in a family of filmmakers in central Paris. One of the most notable examples of these films is the award-winning Les Misérables (2019), whose director Raji Lee grew up in Paris. Cedric Jiménez’s Bac Nord (2020), set in Marseille outside Montfermeil, similarly highlighted the problems faced by the police, while Céline Sciamma’s Little Women (2014) ), Huda Benyamina’s Divines (2016), and Maimouna Doucouré’s Cuties (2020) needed a female perspective that was missing until now.
