“So far, So good.” These are the words echoed in narration by one of the three main characters of the 1995 French film La Haine. Within the realm of film, this particular one has been regarded as one of the most important films ever created. Its themes, visual storytelling, and overall execution have stood the test of time. Although having a cult following, most viewers tend to describe the film with acclaim and positivity. It is a different type of film for its time, and it was one the world needed to see then and still needs to see. 

Thematically Present

La Haine is a film about many themes, whether it be police brutality, divisions in society, friendship, or revenge. What stands above all those themes, though, is the pillar of identity. This can be seen with the three main characters of the film, who go by their real life names: Vinz (Vincent Cassel), Saïd (Saïd Taghmaoui), and Hubert (Hubert Koundé). These characters have many differences and unique personalities, but the main difference, which actually unites them together, is their ethnicities. Vinz is Jewish, Saïd is Arab, and Hubert is Black. These three are all ethnicities that are often marginalized in French society. 

The film presents their marginalization visually through various mediums. Firstly, their innate disapproval of authoritative figures, such as police, is seen already through the opening credits of the film, depicting riots and turmoil. These riots set up the film’s inciting incident, the gruesome beating of one of the trio’s friends, Abdel (also an Arab). Another way the film presents their marginalization is through the setting. When they are in the outskirts of Paris, in a poor immigrant neighborhood, the characters often feel tight knit and connected with each other. They feel like they belong. Contrastingly, when they eventually travel into the city of Paris, they start to face further conflict and are often on-edge. The undeniably beautiful city does not want them there, and they are still somewhat coming to terms with that. Finally, their personalities set them apart from the French as well. Vinz is a man who is particularly out for revenge on the authorities that put his friend in critical condition. He was able to steal an officer’s gun and often tries to find a reason to use it and become the tough guy. Saïd is a mediator, often trying to make Hubert and Vinz get along over their differences in how the situation with the authorities should be handled. Saïd is often caught in the crossfire and is trying to make his way through the world the best way he can. Hubert is the actual tough guy, both physically and mentally. He has the capacity to maintain peace and concentrate his anger into finding better solutions to problems. He and Vinz often argue throughout the film. Overall, identity is a key point of the film that not only sets up a wonderfully raw experience for the viewer as they watch the trio interact, but it also shows them a mirror to their society.  

Structure Like No Other

Within La Haine, the idea of a usual story structure is thrown out the window in preference for a more raw and down-to-earth feel. Amongst the many scenes and set-pieces in the film, there still are undertones of story and structure, but to the average viewer, it will feel like watching a normal day in the life of the trio. Some viewers may be put off by this, while others find it relaxing and intriguing. 

To elaborate on the story structure further, it’s important to take a look at the essential elements that are present. As previously mentioned, the inciting incident is present with the riots that are surrounding the unjust beating of Abdel. This inciting incident propels Vinz to steal a gun from a policeman in the midst of the aforementioned riots. From there, the film feels like a constant rising action, with scenes that feel like they are placed unnecessarily into the film, but in reality, they are showing the passage of time. A constant narrative element present within the film is the time of day being shown to the audience with white text over a completely black background. It not only shows the time of day, though, it also acts like a ticking time bomb that is placed on not only the events surrounding the main characters but on the society they live in as well. As the film expresses several times, “it’s about how you land,” meaning that the trio is trying to land in the best way possible amongst the inner and outer conflicts they are facing. 

The end of the film portrays a climactic ending that has no need for a falling action or resolution to follow it, because the audience can expect the next events to follow.