Brazilian Cinema and City of God

  Cultural divisions originating from the lack of wealth equality define the plot of the film, experimented on by Fernando Meirelles; who is intent on the portrayal of certain unflattering stereotypes of the Brazilian lifestyle. The contrast is primarily created by these conventions that target the independent cultures of the affluent and the needy. The desperation felt by the poor was well conveyed in City of God, a perpetual livelihood led by violence that eradicates feelings of organized civility. Independent perspectives from the filmmaker offers unique approaches to the separation of classes in the environment City of God captures; bordering on exaggeration to emphasize reality.

     While the powerful force of drama felt throughout the film is persistent, Meirelles intends his viewers to be educated of the reality of the situation in certain cities of Rio; lead by the onslaught of ethical and financial divisions. The divisions between the siblings alone serve as important symbols for the cause of violence in Brazil; one continues the chain while the other attempts to share his perspective. From these major standpoints observing the social influences of Brazil, Meirelles is able to compel his audiences into comprehension of the horrors witnessed in Brazilian slums.

  Similar movies should have likewise connections that will interest audiences on personal levels, as maintaining a distanced perspective would cause loss of interest. To facilitate the creation of such connections, additions of drama at key moment will allow for variable amounts of dedication to the subject to be shown from the filmmaker’s perspective; easily interpreted by the audience. This said, a majority of the consequent research will revolve on the possibilities of generating such an appeal to audiences; even when narrating an uncomfortable subject.

Violence Expressionism in City of God

Perception of violence as deeds that are “beyond representation, comprehension, and escape” (Carsten, 1) allows for a categorization of brutality’s origin; generating two independent methods for individuals to explain such witnessed violence. Partitioning the characters through their intents towards the adjustment of their lives become the movie’s plot, as one character decides to demonstrate his perspective through his images; his brother simply displays his personality through actions. The violence that confined the characters to their actions as adults originally “defines manhood and [eventually] initiates the young boys into adult life” (Carsten, 2). This plot variety is also established through the cinematography of the film; emphasizing instances that may seem “conventional” in the slums. However, City of God identifies such violence as a necessary aspect of an impoverished society; allowing Rocket to “[observe] and eventual[ly] participa[te in violent actions], … [connecting] the youth of the favela” (Carsten, 2). 
The characters find unity in the violent participation; trademark of Brazil’s “institutionalized forms of violence” (Carsten, 2). By finding this sole method of organization, the youth are able to develop primarily as observing victims of their malfunctioning society; their actions displaying this victimization. Character design is an important factor in determining genre as well, specifically the lack of female involvement; other than as an “other site for the men to carry out violence against one another” (Carsten, 2). This accentuated tomfoolery provides a link of human moral decay which allows all surroundings to be seen as source of violence. Throughout the movie, the characters find themselves direct and indirect victims of violence; ceasing any chances for improvements, as the characters obtain methods to redirect their angers towards others.