“La haine attire la haine,” Hubert Koundé’s drug dealing boxer says in the 1995 film. His moniker, Blackhaine, is a portmanteau of “black”, to represent the self-destructive emotional spiral of northern poverty, and “haine”, swiped from French director Mathieu Kassovitz’s influential La Haine. Born in Preston, the 26-year-old escaped into movies as a teenager, and his dialect-dipped wordplay illuminates an HD picture of a cloudy panorama – specifically England’s north-west – that’s been culturally opaque for far too long. To call Tom Heyes’ work cinematic is almost an understatement.
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