The more feedback we have, the more people can enjoy our movie chatter. But its not about how you fall, its about how you land. On the way down it keeps telling itself so far so good, so far so good, so far so good.
LA HAINE ENDING FREE
Alternatively, give us a 5-star rating and/or review wherever you get your podcasts from, it helps other people find our podcast. What do the quotes in the ending of La Haine mean Its about a society in a free fall. If you like the podcast, send some support by visiting our PATREON. We've got Mick and Andrew in from our sister show 4Panel to look at that one. A film that merely feels like it was made 25 years ago, meanwhile, is The New Mutants, the intended trilogy opener that instead marks the end of Fox's X-Men series. Our increasingly inappropriately named Off the Shelf section sees us make two trips to the cinema, as Rob checks out the 25th anniversary of Matthieu Kassovitz's French gangland classic La Haine. VHS release was titled Hate.Starring Vincent Cassel, Hubert Koundé and Saïd Taghmaoui, the film chronicles a day and night in the lives of three friends from a. To mark the 25th anniversary of Matthieu Kassovitz’s landmark film, the BFI will release a newly. Opening up questions like "What is the nature of time?", "Are any of us truly unique?" and "What's with the pig anyway?", it gives us plenty to chew over. 'Hate') is a 1995 French independent black-and-white drama film written, co-edited, and directed by Mathieu Kassovitz.It is commonly released under its French title 'La Haine', although its U.S. Great art like La Haine remains timeless - but like the most potent art, it is prescient too. Aimlessly passing their days in the concrete environs of their dead-end suburbia, Vinz (Vincent Cassel), Hubert (Hubert Kound), and Sad (Sad. Settle in for your next long, long car drive with Cinema Eclectica! This week, Rob and Graham are reviewing Charlie Kaufman's Netflix original, I'm Thinking of Ending Things. Mathieu Kassovitz took the film world by storm with La haine, a gritty, unsettling, and visually explosive look at the racial and cultural volatility in modern-day France, specifically the low-income banlieue districts on Paris’s outskirts.
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