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Credit: Far Out \/ Craig Gibson<\/p>\n
Sun 31 May 2026 16:45, UK <\/p>\n
\u201cThe only art I\u2019ll ever study,\u201d David Bowie<\/a> once said, \u201cis stuff that I can steal from.\u201d<\/p>\n There\u2019s some art, however, that captures something vague. The odd, rare masterpiece occasionally arises where you can\u2019t quite put your finger on its magic. These works implore you to study them in a different manner, and Cillian Murphy has been doing just that with one \u201cmasterpiece\u201d from 1995 for a while now.<\/p>\n La Haine, or The Hate in English, offers a simple premise: \u201c24 hours in the lives of three young men in the French suburbs the day after a violent riot.\u201d Notably, the men come from various immigrant backgrounds. It quietly moves through their lives with an almost pastoral indifference. This approach means that mundanity and shocking violence unfurl at the same equanimous pace.<\/p>\n As Murphy opines, that makes it a perfectly realistic depiction of life in rough neighbourhoods. Nothing happens, but anything can happen. The crosshairs of that inertia create an uncomfortable anxiety. As the 28 Days Later actor puts it, \u201cIt still speaks to what\u2019s happening in France today.\u201d<\/p>\n La Haine<\/a>, directed by Mathieu Kassovitz, doesn\u2019t just speak to what\u2019s happening in France, either. That unsettling atmosphere of few opportunities bar \u2018the fall\u2019, as the film christens it, is a commonplace feeling in plenty of working-class neighbourhoods. Raised among a socially conscious family in Cork, who were mostly teachers, Murphy was aware of such social mechanics from a young age.<\/p>\n The messaging of the movie is blunt and simple. \u201cIt\u2019s about a society on its way down,\u201d it even openly declares. A post-production decision was even made to put it all in black and white to eradicate any further uncertainty. Perhaps that\u2019s why it will always remain timeless: come what may, it captures a moment in time in an unmistakable manner.<\/p>\n Seamless captures like that are not easy to achieve, but La Haine does it with eerie aplomb. So, it\u2019s little wonder that frequent Murphy collaborator, Christopher Nolan, has also crowned it as a \u201cphenomenal\u201d film.<\/a><\/p>\n Further reading: Cutting Room Floor<\/p>\n Starring Vincent Cassel, Sa\u00efd Taghmaoui, and Hubert Kound\u00e9, La Haine, indeed, remains vital and timeless. But above all, it is also a truly gripping watch. There\u2019s humour, shock and plenty of commentary to ponder. But perhaps the height of its achievement is its willingness to embrace the meaningful randomness of the inner suburbs.<\/p>\n Take this quote, for instance, delivered by an old man in a toilet: \u201cDo you believe in God? That\u2019s the wrong question. Does God believe in us? I once had a friend called Grunwalski. We were sent to Siberia together. When you go to a Siberian work camp, you travel in a cattle car. You roll across icy steppes for days, without seeing a soul. You huddle to keep warm\u2026\u201d<\/p>\n At first, this old man\u2019s tale feels like a random aside, but the more you study the film, the more the message sets in. <\/p>\n<\/p>\n
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