I thought La Haine (Hatred) was quite remarkable when I first saw it about 20 years ago. After watching it again, I particularly enjoyed Mathieu Kassovitz’ use of space, especially the 360-degree shots that rotated around the characters. These shots really helped immerse the audience in the world of three young men, Vinz (Vincent Kassel), Saïd (Saïd Taghmaoui) and Hubert (Hubert Konde), who live in the poor suburbs of Paris. The panning shots helped contribute to the sense of realism Kassovitz was trying to create in the aftermath of the recent riots there (on screen and in real-life). In addition, I felt like Kassovitz also made good use of lingering shots when the main characters exited a scene to add both levity and weight to the film.

In the Parisian bathroom scene, Kassovitz continues to focus the camera on the bathroom doors as they gradually cease swinging back and forth. This provides a momentum of quietude as a respite from the swirling chaos and energy that surrounds the trio. It also offers a moment of levity as another previously unseen man pokes his head out and looks around in shock at what he had just overheard.

Kassovitz also uses a lingering departure shot to humorous effect when the trio leave the Parisian rooftop where they had tried to extinguish the lights on the Eiffel tower. A few moments after the trio exit the shot, the lights on the tower go out. One of the characters complains that kind of perfect timing only happens in the movies!

The characters’ departure also had humorous effect, perhaps unbeknownst to them, when they confronted the armored policeman in the abandoned building. After Hubert punched the officer, the trio escaped through a small doorway. Vinz paused to taunt the police before turning around and letting the door close. The camera remains focused on the side facing the audience to reveal that it was covered in obscene graffiti. The image adds a parting insult to the officer’s injuries.

In addition to providing some levity, departures also serve to add foreshadowing and a more serious tone. The visual and thematic emphasis on departures seems to be a way to psychologically prepare the audience to accept Vinz’s death and final departure (as well as possibly Hubert’s). It forces the audience to realize that the world will continue to move forward in the absence of Vinz and/or Hubert. The use of lingering departure shots is a distinctive method that helps make La Haine so powerful.

References

La Haine. Directed by Mathieu Kassovitz, performances by Vincent Cassel, Hubert Koundé and Saïd Taghmaoui. Canal+, 1995.