25 years on, the themes of Mathieu Kassovitz' cult breakthrough still resonate.
culture. Despite their different personality traits, all three are filled with hate in nuanced and complicated ways., Hubert, Vinz and Saïd are descendants of immigrant populations in France who often face racism and systemic violence. Traditionally, French national identity emphasises unity as one French people and does not acknowledge the differences among its citizens. In, these national values see the guys shunned by the country they are supposed to call home.
While Vinz, Hubert and Saïd walk the streets, scenes oscillate between pranks and dirty jokes between friends, violent clashes with police and bleak moments of boredom. Each segment is a snapshot of life in a neglected community where its disenfranchised youth have nothing meaningful to do. Forgotten by society and deprived of any real opportunities, it’s the intense feelings of isolation and hopelessness that drive the three friends to do reckless things.
The film’s cinematography is gritty, stylish and poetic. Shot entirely in 35mm Kodak black and white,vivid grey tones are a stark metaphor for the tensions brewing between the oppressor and the oppressed. From kinetic close-ups to bold aerial sequences, the film’s intricate camera work humanises the characters and their struggles while painting a textured picture of the fractured world they live in.
For several months during pre-production Kassovitz and the three main actors lived on location in the Chanteloupwhere the majority of the film was shot, sleeping on mattresses on the floor in one tiny apartment. They did this to immerse themselves in the lifestyle of the neighbourhoods they were about to portray, and also gain the trust of the people living there. Chanteloup residents eventually came to respect the cast and crew as people who would give their marginalised community a real voice.
Why does a film made 25 years ago look like it could have been released last week? It’s no question thatis a gripping and powerful social commentary that still speaks to our world’s problems even now, but it’s still just a film made by filmmakers. It’s up to the people in power to implement the policy changes and reforms we need so we won’t write about how relevant
France Dernières Nouvelles, France Actualités
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