Youth and hatred, like a pair of bitter lovers, depend on each other and torment each other. . . Young people always have to hate, because the anger of hatred can burn the aimless green years, burn the hormones secreted vigorously, and burn this dark and cold reality. . .
In their anger, they were unscrupulous and rampaged. . . In anger, they hurt and were hurt at the same time. . . In their anger, they awakened, but they also lost their way. . . In anger, they either fall and die, or Nirvana regenerates. . .
The angry young man, driven by hatred, used blood as fuel, lit a fire that could be described as tragic, and wanted to restrain everything, all injustice, and all hypocrisy to the end, even if the body was broken, even if the blood ran into a river. . .
Angry youth. . . It was domineering, and it was also a sigh. . .
Hatred
When hatred has become a way of life, what you hate is no longer important. The origin of hatred may have been forgotten, and when opposing camps were formed, everyone was dyed. . . Just like the police and young people in the film. . . In the eyes of each other, one party is the bloody suppression, the injustice, and the rogue with the gun; the other is also a group of maniacs who are provoking stubbornness. . . When the two sides meet, what they see each other is no longer an independent person, but a whole, a whole that gathers all of their resentment, so all they can do is to attack each other in every way. . .
The blows from the young camp are more like pranks. . .
Graffiti on the police car, say provocative words to the police, throw fuel bottles, and destroy public facilities. . . The young people used their own play-style methods to promote their position and vent their dissatisfaction. . . They angered the police and caused conflicts in order to prove their courage. . . Their provocations are random, without regulations, or even purposeless, just like their young hearts. . . Vince, one of the protagonists, first imitated Robert De Niro's classic bridge in "Taxi Driver" in the mirror, practicing his arrogance. . . Conflict seems to them more like a stimulating game, in which they can play a role they admire. . . As for the ending, where do young people think so much. . . The profound truth is so unrestrained and meaningless in the youthful years. . .
However, the other side's blow was much darker and ruthless. . .
The police camp from the adult world is branded with the government and uniforms, and their prestige is threatened. . . Provocative behavior from young people is a bad crime in their eyes, a thorn in the eye and a thorn in the flesh. . . A documentary video at the beginning of the film is embarrassing. . . When the conflict escalated into violence, we saw more of the heavily armed riot police wielding batons and beating the huddled students, and then saw the miserable rescue scene in the hospital. . . At that moment, the police, who originally represented justice, were a group of red-eyed hungry wolves, and retaliated cruelly in a form of almost Nazi suppression. . . That scene, so ugly, made people shudder. . .
The hatred is so blind, just like the antagonism between races we saw in "American X-Files". . .
Under a hostile fog, there are still some kind and honest people, or lovely people. Under the director's careful arrangement, this gray film is dotted with a little warm color. . .
There are also good people in the police station. . . This point has been repeatedly emphasized. . . The lieutenant who released the three protagonists out of the police station on bail, the polite traffic policeman on the road, and the young police officer who showed disgust when the perverted boss abused the two protagonists. . . These seemingly insignificant characters have a good sense of practicality. . . They represent people's kind nature, shining in the mist, although faint and lonely, they are also a ray of hope. . .
Although trying his best to be fair and realistic, the young director stood firmly on the side of the young man, accusing the power party of brutality. . . The movie begins with the vicious incident of the police assaulting a young man until the latter is dying. It runs through the entire film, placing beasts that abuse their power on the trial bench, and all kinds of young people in the film are more or less dressed in the tone of the victim. . .
There
is a bloody story in black and white, but the director used black and white shots. . .
Different from the closeness of color movies to real life, black and white always gives people a sense of distance from the outside. . . Because of this sense of distance, the characters in the film are more abrupt, and lonely because of the abruptness, and a desolate youth desert is about to emerge. . .
There is no enthusiasm for film art, no ambiguous threesomes, no romance and idealism, this is not the May storm, nor the middle-class drama dream Paris. . . This is a slum on the outskirts of Paris, everything seems so empty and cheap. . .
Three protagonists, three little gangsters, no ideals, no future, dangling in this black and white world, telling vulgar jokes, wearing a mask of invincibility, cursing, screaming, and squandering boring days. . . No one restrains them, they seem to be at ease. . . But no one came to stop them and warn them of the inevitable end. . . After all, no one cares. . .
A man jumping down from a skyscraper said, "So far everything is fine, so far everything is fine". . . But the important thing is not how you fall, but how you land. . .
So, this is a story about the fall of three ordinary young people. . . The whole film tells slowly and meticulously the process of their fall. . . However, the process is just to pave the way for the flesh and blood that finally touched the ground. . . The director is determined to make the protagonist's destiny show an inescapable sense of fate, and constantly hints at its tragic ending in the film. . . The story of jumping from a building appears three times in the film, setting the tone for this from the beginning. . . As for the puzzling story told by the old man in the toilet, there are different opinions on its profound meaning, but it is actually the same intent. . . The seemingly cumbersome and calm narrative slowly leads to a terrifying ending. . . The effect is like a cold hand suddenly reaching into your neck. In addition to being cold into the bone marrow, there is also a strong discomfort stuck in the throat. . .
And the black-and-white lens further contributed to this coldness and discomfort, making it rise to the point of despair. . . Here, conflicts and violence continue, young people's endless hatred and endless blood shed. . . Over there, people pretended to be at the "artwork" made up of a toy dog and several plastic bottles. . . When the signs of peace and prosperity are still standing, who cares about the poor creatures that crawl out of these slums? . . .
But because no one cared, the world became black and white. . . Indifference, nothingness, a huge lie, like the billboard that "the world is with you". . . At the end of the film, cold gunfire sounded, and the protagonists finally touched the ground, but the narration became "This is about the fall of a society..." At this time, the director's intention could not be more obvious. . . The three protagonists are just a microcosm of the entire society. . . However, their fall is also the fall of society. . . The tragedy of a few young people today seems trivial. . . However, more young people are jumping down from tall buildings. . . One day, it is the whole society that falls to pieces. . .
Youth is
a movie of young people, but traces of youth are hard to find. . . The few scenes that show the lives of young people are invariably involved in chaotic times. . .
What impressed me was a section where young people got together to dance hip-hop. . . The skilled hip-hop teenager spins in front of the camera, freely and gracefully, giving people a glimpse of youth in an instant. . . However, there was a gunshot outside, and everyone swarmed out, leaving only an unknowing teenager doing a beautiful head spin alone, knowing that there was no audience. . .
Another DJ boy coolly directed the stereo at the community, but the music played out was mainly insulting the police. . .
Youth is tainted by hatred and has changed its flavor. . . All young people are involved in a war where they can't see the end, and lost precious years and even lives in hatred and hatred. . .
However, the young director is asking, who will restore their youth. . . Those in power are indifferent, and what can a group of ignorant teenagers change apart from serving as victims. . . Even the director is just another young man, and his only weapon is the camera in his hand and his conscience. . .
The world is with us? . . . Save it. . .
View more about La Haine reviews
