In one scene, the three men , take refuge in a private art exhibition after missing the last train home. There’s a fight, predictably, and after the curator ejects them and locks the doors, he turns to his guests and shrugs: “Off the estates.” He’s in a linen suit; they’re in Nike, Everlast and Carhartt. This is two sides of Parisian culture, seen through its fashions. (Ferrier, 2016)

Cameo: Director Mathieu Kassovitz briefly appears as the skinhead that Vinz intends to shoot.

"Shot in Chanteloup-les-Vignes, a community 40 kilometers northwest of Paris, La Haine portrays the division of space along the lines of la fracture sociale (social divide): the banlieue is isolated from Paris, as if it existed in a vacuum." (Gott, 1995)

"With La haine, we are not mere spectators of character study and analysis, or of the dramas and joys of love or society. We are inside a world we choose to ignore in France, or that we present at best as an exotic curiosity and, more often, as a world of violence ruled by antisocial and lawless youth. Kassovitz offers us inspired realism, drawn from Italian neorealism. This is new French realism, a genre that was denied any form of recognition or study." (Gavras, 2012)

"As it turns out, La Haine offers an excellent primer on the complexities of global cultural flows. My students often are surprised to learn that Paris (like Atlanta) is an epicenter of hip-hop culture. In fact, as hip-hop scholar Adam Krims has argued, “France is second only to the United States in the venerability of its scenes, the cultural influence of hip-hop, and its sophistication in the evolution of new artistic forms and cultural practices.”[2] My students often do not know that immigration is changing and challenging French society just as fundamentally as it is our own.[3] And they are surprised to learn that black and brown French youth have embraced the artistic languages of hip hop to speak their own truths about life in post-colonial France. " (Spence, 2017)

"The issues raised by La Haine some twelve years ago are being argued still. and the film remains an authoritative touchstone in French culture." (West, 2007)