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.