The Hate You Give (2018) ****
Dir.: George Tillman jr.; Cast: Amanda Steinberg, Lisa Carter, Russell Hornsby, Algen Smith, KJ Apa, Sabrina Carpenter, Common, Anthony Mackie; USA 2018, 133 min.
Director George Tillman jr. (Faster) and his screen writer Audrey Wells have made a brulliant job of adapting the novel The Hate U Give, avoiding clichés and easy answers in this case of another shooting of a black youngster by a white police officer. Instead of solutions, Tillman explores the issues through a teenager representing both communities: she – and other young people – are the victim of a fight they did not chose.
Starr Carter (a brilliant Amanda Steinberg) lives with her family in the black neighbourhood of Garden Heights. Every morning she puts on the uniform of her prestigious prep school and becomes somebody else. Her boyfriend Chris (Apa) and ‘bestie’ Kayleigh (Carpenter) are both white, as are the majority of the students. Starr’s mother Lisa (Hall) has insisted on her choice of school. She wants security for her daughter. Her father Maverick‘Mave’ (Hornsby) is deeply politicised, Black Panther leaflets are all over the house. Starr’s half brother is also very much into his black identity. As a small child, Starr has been the key witness of her classmate’s shooting by the black drug lord (Mackie), who rules Garden Heights with an iron fist. History will soon repeat itself, when Starr is in the car with childhood friend Khalil (Smith) who is shot dead by a white police officer, who mistook a hairbrush for a piece. But, as black officer Carlos (Common) explains to Starr and her father, this is not a simple case because the officer suspected that Khalil was a drug dealer (which he actually was), and reacted in self defence.
When Mave asks Carlos if he would have shot Khalil, the officer nods. “But, if the person in question would have been a white man in a Mercedes, would you have shot too?”, asks Mave. Carlos replies that he would have asked the white man to raise his hands. This double standard is not a question of race, but of tribal law: police officers of all colours are used to dealing with drug lords like the one running the black neighbourhood. It does not matter to them, in the moment of confrontation, that the huge majority of the black population is equally afraid of the drug dealers. Nevertheless, a heated street battle is being fought, and Mave is not only fighting the police, but the black drug dealers, who suspect him of collaborating with the police. In the final analysis, Amanda surmises that hate and violence is not only a question of race.
Stylishly shot on the widescreen and revealing personal close-ups, Steinberg carries the feature with extreme maturity: she is a girl of divided loyalties. And must find a world where she can live in peace with both sides.
Without lecturing, Tillman tries to ask questions. And the audience has to to answer. And there’s no easy answer here, only an acknowledgement that the fault lines run much deeper than the agitators on both sides want to admit. At the same time, The Hate U give is a full-blooded thriller, and in spite of the length, it sustains its suspense. And the real triumph is the marriage of genre aesthetics and articulate political content. AS
NATIONWIDE FROM 22 OCTOBER 2018 | SCREENING DURING BFI LONDON FILM FESTIVAL 2018