So I think the (the sequel) would be much more black than white. Aimlessly passing their days in the concrete environs of their dead-end suburbia, Vinz (Vincent Cassel), Hubert (Hubert Koundé), and. “If we were to take three twenty year-olds today, life would certainly be more difficult for them than it would have been 20 years ago. Mathieu Kassovitz took the film world by storm with his 1996 feature LA HAINE, a gritty, unsettling, and visually explosive look at the racial and cultural volatility in modern-day France, specifically the low-income banlieue districts on Paris’s outskirts. “The weight of religion plays much more of a role ,” he told FRANCE 24. And while some of the Parisian suburbs, including the one featured in the film, have become less violent in the past two decades, the situation has not improved, the film's cinematographer, Pierre Aïm, said, citing the divisive appeal of religious extremism. Mathieu Kassovitz, who won Best Director at Cannes for the film, is now considering a sequel. There was no marketing strategy, other than to be as respectful, as fair and as honest as possible.”
“It was a film for young people, made by young people. “It happened very naturally,” he told FRANCE 24. One of the film’s three lead actors, Saïd Taghmaoui, who was born to Moroccan parents in a northern suburb of Paris not dissimilar from the one where "La Haine" was set, describes the film as “a cry for help”. The film came at a dark period in modern French history, amid mysterious bombings, heightened police brutality and violent demonstrations in and around the capital. Following a multicultural trio of friends from a deprived suburb some 40 minutes away from central Paris, “ La Haine” (which means “Hate”) shone a spotlight on the often ignored, or else stigmatised, day-to-day life of France’s “ banlieues” – specifically the fractious relationship between residents and the police.
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