The islanders were understandably wary of his plans. Years later, an actor mentioned to Kassovitz that he had been to Ouvéa, and offered to take him there. But when you know the real story, people were betrayed – the Kanaks, and some of the military." "Which was a story of crazy savages 25,000km away who decapitated people and who got what they deserved. "I didn't know the story, I knew the lie," he says. He first came across the story via a human rights report. In fact, it's taken him more than 10 years. Kassovitz didn't make Rebellion in a fit of pique, though. Kassovitz plays the French negotiator whose efforts to broker a peaceful outcome are undone by colonial prejudices and French domestic politics. The official version suggested that French troops had bravely rescued 30 gendarmes, killing many indigenous Kanak separatists in the process. It revisits a real-life hostage crisis that took place in 1988 in Ouvéa, a tiny island in French-ruled New Caledonia in the south Pacific. In this light, Rebellion could be seen as a parting shot. I think that's where France is going right now, and I don't like it one bit. And it's not good because when they jolt out of it, it's going to go to some extremes we don't want. Nobody's going in the streets to say what they want. I was when I did La Haine, but nobody's fighting any more. I'm not really proud to be French any more.
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But we were not."Īnd what's to blame for that? "Politics, I think. "We should have been the next wave," he says. The police guards turned their backs on him in protest at the awards ceremony, but Kassovitz was still widely assumed to be the heir to Godard and Truffaut. P>La Haine won Kassovitz the best director award at Cannes (and two of those Césars) at the age of 27. Mathieu Kassovitz … 'I want to take a slap across the face when I see a movie.' Photograph: Jeff Vespa/WireImage With subsequent riots in France and Britain, its relevance has only grown. Raw, bleak but vibrantly rendered, it exposed the faultlines of modern France – racial, generational, economic – against a backdrop of sterile housing estates and simmering police tension. His breakthrough movie, La Haine, was as good a slap across the face as any film-maker has given in the past 20 years. Even though he's tired and yawning when I first meet him in Soho, central London, he soon gets fired up talking about his career and country. If the French film industry lacks energy, Kassovitz certainly doesn't. I'm very pretentious! I like my craft, I like my films, and I want to be surprised and I want to be amazed and I want to take a fucking slap across the face when I see a movie. I'm not challenged by the other directors, and I need to be challenged. "France is not very exciting movie-wise," says Kassovitz. Soon after, Vincent Maraval, the co-chief of the distribution firm Wild Bunch, wrote an inflammatory letter in Le Monde, stating that the real scandal was not Depardieu's departure but the facts that French film failed to turn a profit last year, that its actors were vastly overpaid and that its famous subsidy system wasn't working. France's new 75% tax rate was believed to be the reason, but like Kassovitz, Depardieu blamed the country's "lack of energy". Another came last December, when the country's best-known actor, Gérard Depardieu, renounced his French citizenship, heading first to Belgium, then Russia. You're saying you don't need movies like that? You'd rather go crazy about comedies or lookalike American movies than defend that kind of cinema?"īrits are accustomed to viewing France's distinguished, state-subsidised film industry with envy, but Kassovitz's departure is one of a number of signals that all is not well across the Channel.
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"I wasn't hurt because they didn't want to give me a César, I was hurt because they didn't care about that kind of movie any more," says Kassovitz, who has previously won three Césars and never turned up to collect them.
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In a field dominated by The Artist and Untouchable, Kassovitz's sober political thriller, Rebellion, received just one nomination, for best adapted screenplay. The tweet was in response to the César nominations, France's equivalent of the Oscars. Go fuck yourself with your shitty films." He's done with France. A ny doubts over Mathieu Kassovitz's feelings towards his national film industry were cleared up last year when he tweeted: "Bugger French cinema.