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.
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