Abstract
Two sequences of Mathieu Kassovitz's feature, La Haine (1995), offer compelling images of its metaphysics. They cause the film to reflect with a degree of abstraction and historical consciousness on its unvarnished images of violence. The film tells of three youths who are outsiders in the sordid milieu in which they have been raised. The protagonists are trapped in a squalid suburb of Paris at a moment prior to the general strikes that disabled France in the winter of 1995. Perhaps because of its soundtrack, according to the blurb printed on the cardboard of containers of American editions of the videotape, Jodie Foster claimed that La Haine would rock whoever saw it for the first
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