is presented as bleak and confining to its inhabitants.ĭirector Matthieu Kassovitz follows Vinz, Hubert, and Saïd (white, African, and Arab characters) as they, like the characters in Hill’s The Warriors, try to make their way across the hostile (or indifferent) city to get home. Attack the Block mines similar territory. As in Banlieue 13 and Banlieue 13: Ultimatum (both produced by Luc Besson), it is the oppressive eye of police, government, and media surveillance against which the inhabitants of La Haine / Hate write their own resistant narrative within their marginal city spaces. The poor, the working class, and the immigrant experience in the public housing of Paris is made central in Mathieu Kassovitz’s La Haine (1995).
Oppressive urban space is linked to equally oppressive institutions (government, policing, and the mass media). Movie poster for the explosive public housing action of Banlieue 13: Ultimatum (Alessandrin, 2009)Ĭo-stars David Belle and Cyril Raffaelli traverse the “banlieues” on the outer margins of Paris in a still from Banlieue 13: Ultimatum.
Moses and his gang: the unexpected, eventual savior of the city, the young black urban (hoodie-wearing) male begins the film as an outlaw figure, in the tradition of white characters like Snake Plissken ( Escape from New York, 1981), to evolve into a complex anti-hero. …hand over all of her valuables in the deserted street outside Wyndham Tower, on the (fictional) Clayton council estate, South London.
Moses (John Boyega) demands that Sam (Jodie Whitaker)… The film’s executive producer, Edgar Wright, also produced Shaun of the Dead (2004). The South London slang of the film’s tower block teens imprinted on the urban architecture (and upon the marketing image for Attack the Block), released in 2011. "Attack the Block": Monsters, race, and rewriting South London’s outer spaces by Lorrie Palmer JUMP CUT