1,234 reviews
Cidade de Deus seems to have a lot of praise on the IMDb boards, and with good reason too. It simply is, in my opinion, one of the best contemporary films ever made.
Based on true events and characters who live in the overlooked and poverty stricken slums in the shadows of Rio de Janiero, where life expectancy doesn't reach the 30's and drug dealers are kings.
The tale of the City of God, and its myriad of characters is told by Rocket, a young man who struggles to make something of his life, other than to wind up another victim of drugs or gang wars.
Not only are the characters in City of God absolutely fascinating, and also very endearing, but also convincingly acted by groups of young and unknown actors. The stoies are well-told, and at times, funny, and at others, brutally shocking.
The cinematic style of the film gives a nod to Tarantino, with some clever time-jumping, freeze-framing, and texts indicating another chapter of the film. In every sense, a bit of a Brazillian "Pulp Fiction" or "Goodfellas", but with its own unique flavour to it.
The City of God is a marvel, and a highly recommended film to watch, but not recommended for the over-sensitive or easily distressed.
Based on true events and characters who live in the overlooked and poverty stricken slums in the shadows of Rio de Janiero, where life expectancy doesn't reach the 30's and drug dealers are kings.
The tale of the City of God, and its myriad of characters is told by Rocket, a young man who struggles to make something of his life, other than to wind up another victim of drugs or gang wars.
Not only are the characters in City of God absolutely fascinating, and also very endearing, but also convincingly acted by groups of young and unknown actors. The stoies are well-told, and at times, funny, and at others, brutally shocking.
The cinematic style of the film gives a nod to Tarantino, with some clever time-jumping, freeze-framing, and texts indicating another chapter of the film. In every sense, a bit of a Brazillian "Pulp Fiction" or "Goodfellas", but with its own unique flavour to it.
The City of God is a marvel, and a highly recommended film to watch, but not recommended for the over-sensitive or easily distressed.
- trelloskilos-1
- Dec 17, 2004
- Permalink
The film revolves around the, 'City of God,' a favela (or ghetto) in Rio de Janeiro, Brazil, a horrifying area where drug dealers run the community, and where children killing children is not an uncommon occurrence.
The story begins with the early stages of the City of God (in the 1960's) showing where many of the problems stem from- the extreme poverty, overcrowding etc. Here, in the early stages of the favela, we meet our main characters, along with the supporting cast. The story revolves mainly around two characters living in the favela, Rocket and Lil Ze, and how they take two different paths through life. Rocket's dream is to become a photographer and to escape the City of God while Lil Ze becomes a powerful gang leader and drug dealer.
The film offers an unflinching look at gang life in the City of God, as it follows the favela through three decades; the 60's, 70's and 80's, and shows how violence just spirals into more violence with the disturbingly high amounts of violence in the favela, most involving teenagers and children.
The direction, cinematography, and editing are all Oscar-worthy. The cinematography is some of the best I have ever seen- with a very visceral, jerky feel, very reminiscent of Saving Private Ryan. The editing is very frantic, which makes you feel like you are on the streets of the City of God, and the direction is flawless, seamlessly blending the many elements of the story.
The film was definitely one of the best films I have ever seen. The story, the direction, the cinematography, the editing and the acting all add up to make a excellent movie that I would recommend to all.
10/10, A+
Would also recommend: Bus 174 and Carandiru
The story begins with the early stages of the City of God (in the 1960's) showing where many of the problems stem from- the extreme poverty, overcrowding etc. Here, in the early stages of the favela, we meet our main characters, along with the supporting cast. The story revolves mainly around two characters living in the favela, Rocket and Lil Ze, and how they take two different paths through life. Rocket's dream is to become a photographer and to escape the City of God while Lil Ze becomes a powerful gang leader and drug dealer.
The film offers an unflinching look at gang life in the City of God, as it follows the favela through three decades; the 60's, 70's and 80's, and shows how violence just spirals into more violence with the disturbingly high amounts of violence in the favela, most involving teenagers and children.
The direction, cinematography, and editing are all Oscar-worthy. The cinematography is some of the best I have ever seen- with a very visceral, jerky feel, very reminiscent of Saving Private Ryan. The editing is very frantic, which makes you feel like you are on the streets of the City of God, and the direction is flawless, seamlessly blending the many elements of the story.
The film was definitely one of the best films I have ever seen. The story, the direction, the cinematography, the editing and the acting all add up to make a excellent movie that I would recommend to all.
10/10, A+
Would also recommend: Bus 174 and Carandiru
- ragin_kagin
- Nov 27, 2004
- Permalink
Such an amazing film that deserves the accolades and acclaimed hype it's garnered. One of the best foreign language films there is and one of the best films personally seen recently, after a long time of being on my to see list but taking a while to get round to it due to being so busy and going through a difficult phase.
Perhaps 'City of God' is not for everybody. It is not some audience members' idea of being entertaining, and is pretty unflinching, uncompromising and challenges the viewer. It does, with that being said, a superlative job bringing those qualities to life, and there are others, including myself, who judge films by what they set out to do rather than just wanting to be "entertained". There are many hugely entertaining films, while there are others that are clearly intended to be things other than entertainment and either are deep character studies, deliberate mood pieces and poignant dramas and shouldn't be denounced because of stereotypical views of what a film should be like.
'City of God' is very well made, with some stunning and hard-hitting images, even if the budget is not high or enormous. It's all audaciously shot and edited with a lot of gritty atmosphere and sense of tension. The music fits well and has some haunting moments without being intrusive, while Fernando Meirelles's direction, particularly in the visual style, is superb.
The story is not hard to follow, with lots of provoking thought, tension and emotion, while the action is positively explosive, frighteningly brutal and designed with a real meticulousness. In no way either does it glamorise crime and gives an unflinching view of gangland rivalry, provoking comparisons to Martin Scorsese and 'Goodfellas'.
Alexandre Rodrigues and Leandro Firmino da Hora are fabulous in their roles and carry the film and their compellingly real characters adeptly.
Overall, a masterwork. 10/10 Bethany Cox
Perhaps 'City of God' is not for everybody. It is not some audience members' idea of being entertaining, and is pretty unflinching, uncompromising and challenges the viewer. It does, with that being said, a superlative job bringing those qualities to life, and there are others, including myself, who judge films by what they set out to do rather than just wanting to be "entertained". There are many hugely entertaining films, while there are others that are clearly intended to be things other than entertainment and either are deep character studies, deliberate mood pieces and poignant dramas and shouldn't be denounced because of stereotypical views of what a film should be like.
'City of God' is very well made, with some stunning and hard-hitting images, even if the budget is not high or enormous. It's all audaciously shot and edited with a lot of gritty atmosphere and sense of tension. The music fits well and has some haunting moments without being intrusive, while Fernando Meirelles's direction, particularly in the visual style, is superb.
The story is not hard to follow, with lots of provoking thought, tension and emotion, while the action is positively explosive, frighteningly brutal and designed with a real meticulousness. In no way either does it glamorise crime and gives an unflinching view of gangland rivalry, provoking comparisons to Martin Scorsese and 'Goodfellas'.
Alexandre Rodrigues and Leandro Firmino da Hora are fabulous in their roles and carry the film and their compellingly real characters adeptly.
Overall, a masterwork. 10/10 Bethany Cox
- TheLittleSongbird
- Jun 9, 2017
- Permalink
- Decko_koji_obecava
- May 16, 2003
- Permalink
I have seen this movie only recently (2005) and it's easily one of the better foreign films I have seen. Actually, it's probably just about one of the best films I had ever seen.
The characters really make this movie come alive with each of their compelling personalities shining though in the backdrop of oppressive conditions and constant violence. One thing which clearly comes to mind is "Lil' Dice's" ear to ear smile - so vivid and yet so ironic since he personifies pure evil.
The City of God is a world you don't want to visit, it won't be featured on a post card, and it's said to be the city ignored by god himself. This movie makes you feel uncomfortable, puts you on the edge of your seat -- you are right into the middle of the City and you too are caught up in it's violent temptation. More importantly, it's about the triumph of the human spirit against all odds.
This movie in effect is fast paced and hard to follow (with the added stress of subtitles over Portuguese), but it's worth it; and in fact really adds to the impetuous and impulsive undertones of the movie. In addition, the quintessential Brazilian music blending into the film like a well made Caprahina makes it feel authentic like the Italian music in the God Father.
You see the flaws of these men played out in an almost fatalistic nature -- hated, greed, futility; and in it all we see ourselves, our own flaws, and our own condition.
The characters really make this movie come alive with each of their compelling personalities shining though in the backdrop of oppressive conditions and constant violence. One thing which clearly comes to mind is "Lil' Dice's" ear to ear smile - so vivid and yet so ironic since he personifies pure evil.
The City of God is a world you don't want to visit, it won't be featured on a post card, and it's said to be the city ignored by god himself. This movie makes you feel uncomfortable, puts you on the edge of your seat -- you are right into the middle of the City and you too are caught up in it's violent temptation. More importantly, it's about the triumph of the human spirit against all odds.
This movie in effect is fast paced and hard to follow (with the added stress of subtitles over Portuguese), but it's worth it; and in fact really adds to the impetuous and impulsive undertones of the movie. In addition, the quintessential Brazilian music blending into the film like a well made Caprahina makes it feel authentic like the Italian music in the God Father.
You see the flaws of these men played out in an almost fatalistic nature -- hated, greed, futility; and in it all we see ourselves, our own flaws, and our own condition.
- panjshir_lion
- Mar 29, 2005
- Permalink
The film, directed by Fernando Meirelles, tells the story of life in the slums of Rio de Janeiro, in an area known as the Cidade De Deus, the City of God. The story is told from the narration of the young photographer, Rocket. The different scenarios of life that make up the wider-story are presented in Pulp Fiction style chapters, complete with on-screen titles for each different story component. The story covers all the facets of the life, charting the growth of several key members of the gangs from childhood through to young adulthood, with their transformation from young hoodlums to local drugs barons. The final parts of the story focus on the battle within the Cidade De Deus between two different groups, when business and personal matters lead to an unavoidable confrontation. And what a confrontation it is, although details will not be given away here. The result is a powerful telling of life based around real-life events.
Martin Scorsese seems to have a heavy influence on the direction of this picture, with many moments looking familiar to fans of the legendary American filmmaker. Close ups, sweeping scene shots, freeze-and-zoom shots, and a frenzied handheld approach are all trademarks that will be recognisably traceable to Scorsese, having been used throughout his career. Many shots remind the viewer of Scorsese's narrative dialogue-camera relationship in Goodfellas, in which the camera was used to brilliant effect to highlight the main points in the script. This technique is used heavily in the first twenty minutes of Cidade De Deus, with the freeze frame trick being used to introduce the story's main characters alongside the dialogue of narrator, Rocket.
Throughout the film one cannot help but watch a scene and think, 'I've seen that in Raging Bull, Goodfellas, or Casino', and this may make some look less favourably on the film's direction. However, it is not fair to consider this 'a Brazilian Goodfellas', as one critic has observed. The story has parallels - the underlying ideas of gangsters, drugs and violence -, the direction is similar, and the story is told with narration, much like Ray Liotta's role in Scorsese's epic. But to regard this film in terms of what styles it repeats or nods it's hat to, is to be very ignorant. Fernando Meirelles, has done a wonderfully hypnotic job of blending the old styles, and bringing them up to date with flashy and sometimes dangerously kinetic direction and editing. Look only to the leaving-party scene in which strobe lighting is used to extraordinary effect, almost suffocating the story below a bombardment on the visual senses. Think of a crossover between the visual energy of the Matrix and the violence of the club scene in Bad Boys.
Cidade De Deus is much more than a directorial assault on the senses. As Raul Walsh said if you don't have a story you have nothing, and many flashy Hollywood films have fallen short in using 'ultra-modern' direction to disguise the fact that no substantial story exists underneath. Cidade De Deus is most brilliant in that it combines directorial and editorial brilliance with a story that is almost second to none in recent times. Only the true greats manage to cater to these two needs of cinema, and this is one that does. The direction is amazing, but not to disguise the story flaws, and the story is brilliant, but does not overwhelm directorial originality. But simply, Cidade De Deus is a perfect film for avid fans of cinematography, and those just in search of two hours of a bloody good story.
I cannot decide yet if I would consider this better than Amores Perros, but it is certainly not inferior. The at-the-same-time stylish and brutal visuals of Amores Perros are replaced by a grittier, more hands on approach to the subject. Whilst in Amores Perros the characters took precedent, in Cidade De Deus the location is as big a character as those who live there. As a result we get a much greater feeling of the environment in which the characters exist, and so it is perhaps easier to empathise, and/or sympathise with them. As the official press synopsis says, Cidade De Deus is a character, but is a place not a person. Amores Perros triumphs in creating relationships between the audience and the characters, as it concentrates for a long time on relatively few people, each of whom we grow to know and ultimately care about, which is important for the emotional impact of the film. Cidade De Deus deals with dozens, even hundreds, of characters, and so it is only a minority that we become attached to. This means that while the film leaves a lasting impact we are not left with the same inquisitiveness about the future for the characters that we meet in Amores Perros. Both films leave open ends, but Cidade De Deus feels closed. Whether you consider this a good or bad thing is a matter for personal choice.
Cidade De Deus is essential viewing, and is cinema at its most brilliant. It will of course feel the wrath of critics who will dwell on the almost unimaginably high body count, but there are always those who will reject violence in the movies. In fact the violence in Cidade De Deus, even the apocalyptic ending, is not as raw and bloody as many will expect. Blood spilling is a rare sight, and the violence rests mostly, but not always, on choreography rather than in your face bloodshed. The result is violence, but it is often so artistic that it looks beautiful rather than deterring. Like Scorsese's Taxi Driver the violence is abhorrent, but admirable from a cinematic perspective.
In short, this is a superb achievement, and is easily one of the best films of the year, and of the decade so far. Like it's predecessors, this is the latest film to come out of South America that indicates the emergence of major new talent in filmmaking. Hollywood beware.
Martin Scorsese seems to have a heavy influence on the direction of this picture, with many moments looking familiar to fans of the legendary American filmmaker. Close ups, sweeping scene shots, freeze-and-zoom shots, and a frenzied handheld approach are all trademarks that will be recognisably traceable to Scorsese, having been used throughout his career. Many shots remind the viewer of Scorsese's narrative dialogue-camera relationship in Goodfellas, in which the camera was used to brilliant effect to highlight the main points in the script. This technique is used heavily in the first twenty minutes of Cidade De Deus, with the freeze frame trick being used to introduce the story's main characters alongside the dialogue of narrator, Rocket.
Throughout the film one cannot help but watch a scene and think, 'I've seen that in Raging Bull, Goodfellas, or Casino', and this may make some look less favourably on the film's direction. However, it is not fair to consider this 'a Brazilian Goodfellas', as one critic has observed. The story has parallels - the underlying ideas of gangsters, drugs and violence -, the direction is similar, and the story is told with narration, much like Ray Liotta's role in Scorsese's epic. But to regard this film in terms of what styles it repeats or nods it's hat to, is to be very ignorant. Fernando Meirelles, has done a wonderfully hypnotic job of blending the old styles, and bringing them up to date with flashy and sometimes dangerously kinetic direction and editing. Look only to the leaving-party scene in which strobe lighting is used to extraordinary effect, almost suffocating the story below a bombardment on the visual senses. Think of a crossover between the visual energy of the Matrix and the violence of the club scene in Bad Boys.
Cidade De Deus is much more than a directorial assault on the senses. As Raul Walsh said if you don't have a story you have nothing, and many flashy Hollywood films have fallen short in using 'ultra-modern' direction to disguise the fact that no substantial story exists underneath. Cidade De Deus is most brilliant in that it combines directorial and editorial brilliance with a story that is almost second to none in recent times. Only the true greats manage to cater to these two needs of cinema, and this is one that does. The direction is amazing, but not to disguise the story flaws, and the story is brilliant, but does not overwhelm directorial originality. But simply, Cidade De Deus is a perfect film for avid fans of cinematography, and those just in search of two hours of a bloody good story.
I cannot decide yet if I would consider this better than Amores Perros, but it is certainly not inferior. The at-the-same-time stylish and brutal visuals of Amores Perros are replaced by a grittier, more hands on approach to the subject. Whilst in Amores Perros the characters took precedent, in Cidade De Deus the location is as big a character as those who live there. As a result we get a much greater feeling of the environment in which the characters exist, and so it is perhaps easier to empathise, and/or sympathise with them. As the official press synopsis says, Cidade De Deus is a character, but is a place not a person. Amores Perros triumphs in creating relationships between the audience and the characters, as it concentrates for a long time on relatively few people, each of whom we grow to know and ultimately care about, which is important for the emotional impact of the film. Cidade De Deus deals with dozens, even hundreds, of characters, and so it is only a minority that we become attached to. This means that while the film leaves a lasting impact we are not left with the same inquisitiveness about the future for the characters that we meet in Amores Perros. Both films leave open ends, but Cidade De Deus feels closed. Whether you consider this a good or bad thing is a matter for personal choice.
Cidade De Deus is essential viewing, and is cinema at its most brilliant. It will of course feel the wrath of critics who will dwell on the almost unimaginably high body count, but there are always those who will reject violence in the movies. In fact the violence in Cidade De Deus, even the apocalyptic ending, is not as raw and bloody as many will expect. Blood spilling is a rare sight, and the violence rests mostly, but not always, on choreography rather than in your face bloodshed. The result is violence, but it is often so artistic that it looks beautiful rather than deterring. Like Scorsese's Taxi Driver the violence is abhorrent, but admirable from a cinematic perspective.
In short, this is a superb achievement, and is easily one of the best films of the year, and of the decade so far. Like it's predecessors, this is the latest film to come out of South America that indicates the emergence of major new talent in filmmaking. Hollywood beware.
- ElChivoDave
- Jan 7, 2003
- Permalink
I knew nothing of this film before I saw it by chance in a rare Pub open screening, but boy was I glad I got the chance to take a look. I was riveted all night - I completely ignored my friends! I thought it was an awesome re-enactment of a true story - powerful, moving, raw, real - and even funny in parts. I walked away afterwards, beaming. It's rare a great film like this is made, especially these days. I gave it ten out of ten. Please see it if you can.
- sarahdelore
- Jun 6, 2003
- Permalink
I agree with the other positive reviews here. I just saw this again after 15 years - still far exceeds anything made today when it comes to struggles of troubled youth in urban slums plagued by drugs and violence. So raw. So shocking to the system. Highly recommended!
- janicenichols-32565
- Sep 27, 2018
- Permalink
Wow, this is one of those different movies - meaning not run-of-mill by any means - and one of those which isn't pleasant to watch but one you might find yourself mesmerized by it.
This also is one of those "based on a true story" films which makes it even more shocking, if its mostly true. The story is of the many young (pre and early-teen) criminals inhabiting an area just outside the big city of Rio de Janeiro in Brazil. It has the feel of a documentary with real-life street kids but is upgraded considerably by fantastic camera-work, some very innovative cinematography. In other words: stylish.
Make no mistake: without that stylish look, the film might be too much of a downer. The street kids are interesting but really brutal, so be prepared. I mean, how often do you see 12-year-old killers portrayed on film? The violence, language and drug use are rough in here and what a sad comment on this social problem in Brazil, a country with a huge problem with these street gangs. Overall, a very tough but fascinating film.
This also is one of those "based on a true story" films which makes it even more shocking, if its mostly true. The story is of the many young (pre and early-teen) criminals inhabiting an area just outside the big city of Rio de Janeiro in Brazil. It has the feel of a documentary with real-life street kids but is upgraded considerably by fantastic camera-work, some very innovative cinematography. In other words: stylish.
Make no mistake: without that stylish look, the film might be too much of a downer. The street kids are interesting but really brutal, so be prepared. I mean, how often do you see 12-year-old killers portrayed on film? The violence, language and drug use are rough in here and what a sad comment on this social problem in Brazil, a country with a huge problem with these street gangs. Overall, a very tough but fascinating film.
- ccthemovieman-1
- Mar 5, 2006
- Permalink
Li'l Zé and his gang is having fun chasing a runaway chicken in a Rio favela called the Cidade de Deus "City of God". The chicken comes to Rocket with his camera. Then flashbacks to the 60s tell the story of Rocket who becomes the photographer of his friends. Li'l Zé and his best friend Benny grow up to be the crime boss of the city. There's Carrot who is a criminal leader tolerated by Benny and there's Knockout Ned who turned away from crime.
It is truly a new Godfather. It is the harsh brutality of the slums. It's the randomness of the world. It beats with a human heart. It's a little messy. It's visceral. The kids are played by kids. The criminals are remorseless. The amateur actors are authentic. The cinematography is terrific. The location can't get more real. It is a new crime masterpiece.
It is truly a new Godfather. It is the harsh brutality of the slums. It's the randomness of the world. It beats with a human heart. It's a little messy. It's visceral. The kids are played by kids. The criminals are remorseless. The amateur actors are authentic. The cinematography is terrific. The location can't get more real. It is a new crime masterpiece.
- SnoopyStyle
- Jun 15, 2015
- Permalink
I am a big fan of foreign film, because its great to see directors with different points of view than the average American director. City of God is the epitome of a great foreign film. It shows the classic struggle between right and wrong, in a brand new way. The raw directing style, coupled with a great soundtrack makes for a movie which many different kinds of people can enjoy. Weather your a Harvard intellectual or the local idiot, you can enjoy this. The vicious cycle of the gangster lifestyle is portrayed with haunting accuracy. It even forces the audience to sympathize with some of the nastiest thugs in the world. All in all, City of God is one the greatest movies of my time and each time i watch it i enjoy it more than the last.
The movie deals about children and adolescent factions in the impoverished Favelas , Rio Janeiro , for 1960 and 1970 years . And it centers upon a teen who tries to leave that world by means of the photography . The final confrontation among the motley gangs for Favelas control is pretty violent and bloody .
In the motion picture there are shocks , emotion , sex , violence and a little bit of social criticism . Runtime film is overlong but it's fast moving and that's why it isn't boring but it results to be enjoyable . The picture is similar other film from 1981 : ¨Pixote¨ (Hector Babenco) that was likeness in atmosphere and showing the delinquent vagrants . It's a thought-provoking and clever studio of juvenile paupers and unflinching remark at the underbelly of Rio Janeiro city , where teens and children become into burglars and assassins . The movie was not actually shot in Cidade De Deus slum as it was too dangerous ; it was shot in a neighbouring , less dangerous área . Principal actors' interpretation is outstanding , in spite of most are newcomers . All of the amateur actors were recruited from Favelas (slums) in Rio de Janeiro, and a couple of them actually lived in the Cidade de Deus (City of God) itself . Fernando Mereilles direction is awesome and stylish , he even has been hired by Hollywood to make lavish films . The motion picture had an Oscar nomination and obtained a lot of success at box office around the world . The movie is produced by Walter Salles , the best director and production manager from Brazil .
The film is rated ¨R¨ for crude murders and sex and isn't apt for boys , only for old people (+18) , neither squeamish. The flick will appeal to social drama and thoughtful films lovers . Rating: 7/10. Well worth watching.
In the motion picture there are shocks , emotion , sex , violence and a little bit of social criticism . Runtime film is overlong but it's fast moving and that's why it isn't boring but it results to be enjoyable . The picture is similar other film from 1981 : ¨Pixote¨ (Hector Babenco) that was likeness in atmosphere and showing the delinquent vagrants . It's a thought-provoking and clever studio of juvenile paupers and unflinching remark at the underbelly of Rio Janeiro city , where teens and children become into burglars and assassins . The movie was not actually shot in Cidade De Deus slum as it was too dangerous ; it was shot in a neighbouring , less dangerous área . Principal actors' interpretation is outstanding , in spite of most are newcomers . All of the amateur actors were recruited from Favelas (slums) in Rio de Janeiro, and a couple of them actually lived in the Cidade de Deus (City of God) itself . Fernando Mereilles direction is awesome and stylish , he even has been hired by Hollywood to make lavish films . The motion picture had an Oscar nomination and obtained a lot of success at box office around the world . The movie is produced by Walter Salles , the best director and production manager from Brazil .
The film is rated ¨R¨ for crude murders and sex and isn't apt for boys , only for old people (+18) , neither squeamish. The flick will appeal to social drama and thoughtful films lovers . Rating: 7/10. Well worth watching.
I have made an effort to watch all the movies in IMDb's top 100 rated list. As of now, I'm looking for a place where the DVD for Sunset Blvd. is (currently at #30). But this movie is one of the movies I've seen that's on the list. And I find it an amazing film (currently #5 on my top 10 list). What I enjoy about this film is the visual look of the film, but also the way the director puts you in the story. At the end of the film you have become friends with just about everyone in the film, even though some of the characters are very despicable people. The violence hits you in the chest like a load of bricks sometimes, especially when you recognize that many of the kids involved in the violence are right around 10 or 11, but you also realize that this reflects the culture of the slum these kids live in.
Gangster films always seem to make for good dramas (e.g. the Godfather, Goodfellas), where the culture of evil almost always triumphs as the dominant character. This film is no different, but it shows the life of children in places where bribery and corruption reigns supreme. It also shows the bravery of many of these people when even the government won't stick up for them.
If you're thinking of starting to watch some foreign language films, this is a good place to start. It is a classic IMO among films made in languages besides English. I did find that the subtitles in this film were done rather poorly (they displayed on my DVD player at the wrong times and it took a few plays to figure out who was saying what.) But I think the film itself is a truly great film.
Gangster films always seem to make for good dramas (e.g. the Godfather, Goodfellas), where the culture of evil almost always triumphs as the dominant character. This film is no different, but it shows the life of children in places where bribery and corruption reigns supreme. It also shows the bravery of many of these people when even the government won't stick up for them.
If you're thinking of starting to watch some foreign language films, this is a good place to start. It is a classic IMO among films made in languages besides English. I did find that the subtitles in this film were done rather poorly (they displayed on my DVD player at the wrong times and it took a few plays to figure out who was saying what.) But I think the film itself is a truly great film.
This movie does not take any prisoners. Although I have not been into any "favella" (= ghetto) and I don't really know if the movie depicts it realistically, I do know that it is a gripping story. About kids growing up in a violent environment. Not that this movie is an action movie. It's a drama, with action scenes in it.
The style and the look remind you a little bit of a documentary, just to make things scarier/real. It fully achieves it's goal. The "actors" (the director mostly used people who really live or lived in Brazilian ghetto) are superb too. And since the story is well written and told, there is nothing more you could wish for. Of course if watch it in it's original version and don't speak Portuguese, than you will have to read the subtitles ... but it's more than worth it (and I personally prefer it that way)
The style and the look remind you a little bit of a documentary, just to make things scarier/real. It fully achieves it's goal. The "actors" (the director mostly used people who really live or lived in Brazilian ghetto) are superb too. And since the story is well written and told, there is nothing more you could wish for. Of course if watch it in it's original version and don't speak Portuguese, than you will have to read the subtitles ... but it's more than worth it (and I personally prefer it that way)
In Rio de Janeiro tensions ferment, Li'l Dice to Li'l Zé shows great intent, building on shoulders of others, those he once thought of as brothers, taking hold of pastures new with pure torment. The favela is the place where war is raged, like a prison where the disparate are caged, where the currency's narcotics, with allegiances firmly fixed, the chances are you'll never get too aged. To tell the tale our navigator is called Rocket, skirts with trouble, keeps his head below the parapet, then a camera comes to hand, a chance to break out of this land, but there are those who will impose their will with threat.
Still a great piece of filmmaking.
Still a great piece of filmmaking.
The story begins in the present days, in a barbecue party in the slum of 'Cidade de Deus', with some bandits chasing a chicken. Then, a teenager called Buscapé (Alexandre Rodrigues) tells the story of the Cidade de Deus and the main characters of the movie (Zé Pequeno, Bené, Cenoura etc.), since they were kids.
This movie takes place in Cidade de Deus, a set of buildings originally built in the 60's for poor persons originated from a big flooding in Rio and from some slums. In the 60's, this area was isolated, without any infrastructure. Nowadays, with the construction boom, it is located close to Barra da Tijuca and Jacarepaguá, very valuables zones. Rio de Janeiro City is surrounded by slums, where the situation presented in the film is the reality of thousands and thousands of honest poor persons.
This movie is remarkable: the screenplay, the direction, the performance of the cast, everything works perfectly. The frantic camera looks like a documentary. Today the DVD was released in Brazil, I bought it and I have just watched it with my family.
I really can imagine the reaction of foreigners watching this sad side of Rio de Janeiro. It is strange, because a person who does not live in Rio probably may think that this movie exaggerates in some aspects. However, this is our reality. Lost bullets, robberies, violence is part of our day-by-day life. By the other hand, the same person may think that life in Rio 'stinks', and again it is not true. My city, like a golden coin, has two sides: heads and tails. If you can afford, you have wonderful places to live. But unfortunately, a great part of the population lives in slums, like the ones showed in this movie. The lack of perspective in life of the children, unemployment, ridiculous salaries, lack of education, lack of the faith, all of these factors contributes for the formation of the next generation of drug dealers and bandits. The traffic offers positions to the kids, like showed in this movie. And in the end, even when the 'grown-ups' are arrested or murdered, there is a bunch of children to occupy the spot. A sad social problem, but true. My vote is ten.
Title (Brazil): "Cidade de Deus" ("City of God")
This movie takes place in Cidade de Deus, a set of buildings originally built in the 60's for poor persons originated from a big flooding in Rio and from some slums. In the 60's, this area was isolated, without any infrastructure. Nowadays, with the construction boom, it is located close to Barra da Tijuca and Jacarepaguá, very valuables zones. Rio de Janeiro City is surrounded by slums, where the situation presented in the film is the reality of thousands and thousands of honest poor persons.
This movie is remarkable: the screenplay, the direction, the performance of the cast, everything works perfectly. The frantic camera looks like a documentary. Today the DVD was released in Brazil, I bought it and I have just watched it with my family.
I really can imagine the reaction of foreigners watching this sad side of Rio de Janeiro. It is strange, because a person who does not live in Rio probably may think that this movie exaggerates in some aspects. However, this is our reality. Lost bullets, robberies, violence is part of our day-by-day life. By the other hand, the same person may think that life in Rio 'stinks', and again it is not true. My city, like a golden coin, has two sides: heads and tails. If you can afford, you have wonderful places to live. But unfortunately, a great part of the population lives in slums, like the ones showed in this movie. The lack of perspective in life of the children, unemployment, ridiculous salaries, lack of education, lack of the faith, all of these factors contributes for the formation of the next generation of drug dealers and bandits. The traffic offers positions to the kids, like showed in this movie. And in the end, even when the 'grown-ups' are arrested or murdered, there is a bunch of children to occupy the spot. A sad social problem, but true. My vote is ten.
Title (Brazil): "Cidade de Deus" ("City of God")
- claudio_carvalho
- Oct 31, 2003
- Permalink
Incredible film. Not much to say, yet I could say it all. The film is absolutely splendid in its use of colour, characters and especially music. Though some might complain of the shaky Super 16 footage, it is evidently for effect as the first half (golden age) is filmed with lots of aerials, and smooth, precise shots.
Stunning in every sense
Stunning in every sense
- chengjeffrey99
- Oct 29, 2018
- Permalink
Before anyone says anything, hear me out. According to the IMDb Top 250 list, "The Godfather" reigns supreme as number one, while "City of God," or more appropriately, "Cidade de Deus," is at the number 17 slot. But to compare the two is like comparing an Arnold Schwartzenegger movie to "Crash." They are just too different. But for me, while Francis Ford Coppolla's 1972 film is rightly considered a masterpiece, "City of God" is more memorable and packs a bigger punch. That, and "The Godfather" has had 30 more years under its belt to gather its legendary status. And it's in English (which, sadly, makes a lot of difference).
Now, "City of God." What a rush! Fernando Meirelles's masterpiece is a film to behold. Many critics have described films as "explosive" for the punch they pack, and/or the unflinching reality of the subject matter. But there has been no film I have ever seen that can match "City of God" for energy. It has so much energy that instead of unfolding, it throws itself at you all at once, leaving everything else to be done afterwards. The actors don't act; they don't have time. They just...are. Everything is done to such an extreme, it's surprising that Meirelles manages to make none of it sensationalistic or exploitative.
Some people will tell you that this film is the chronicle of two drug lords. While there is some truth in that, the plot, if one could call it that, is better described as the chronicle of the "City of God" itself. Characters float in and out, with the "out" part frequently involving a bang (or more likely, a series of them). The characters are given background only if and when they are needed.
Like I said, there's really no time to develop subtly-nuanced performances. The film moves with such breakneck energy that to do so would only slow it down. There are only a few characters that really matter. Rocket (Alexandre Rodrigues) is our window into the hellish slums. The result isn't voyeuristic, instead Rocket is more like a guide (albeit with only the narration addressing the audience). He's a normal teen, with interests in girls (particularly Angelica (Alice Braga)), sex, and aspirations to be a photographer. But his main goal is simply to survive each day. Also of note is Li' Ze, who we see growing up with a taste for violence as a kid (kids shoot and kill people just as frequently, if not more so, than adults). His increasingly drug-addled brain and his ambition makes him more frightening by the minute. The only one who keeps him grounded and (relatively) under control is Benny (Phellipe Haagensen), the "coolest hood in the City of God." There's some truth in that statement, as spoken by Rocket. He's the shed of brightness in this hellish city (though he's no goody-two-shoes). Finally, there is Lil Ze's rival, Knockout Ned (Seu Jorge), who has the film's most notable character changes.
But this is Fernando Meirelles movie. He throws in everything he can think of, and then some. References to Tarantino are abound, and there are probably more, but Meirelles takes the energy level up so high that there's no room for even a "please" or "thank you." Desaturated colors. A constantly moving camera. Loud noises. An upbeat soundtrack (which is the film's saving grace from becoming too grim). It's all here.
People may not agree with me that this is the best film ever made, and that's okay. I respect that. But make no mistake, it's an unforgettable 130 minutes.
Now, "City of God." What a rush! Fernando Meirelles's masterpiece is a film to behold. Many critics have described films as "explosive" for the punch they pack, and/or the unflinching reality of the subject matter. But there has been no film I have ever seen that can match "City of God" for energy. It has so much energy that instead of unfolding, it throws itself at you all at once, leaving everything else to be done afterwards. The actors don't act; they don't have time. They just...are. Everything is done to such an extreme, it's surprising that Meirelles manages to make none of it sensationalistic or exploitative.
Some people will tell you that this film is the chronicle of two drug lords. While there is some truth in that, the plot, if one could call it that, is better described as the chronicle of the "City of God" itself. Characters float in and out, with the "out" part frequently involving a bang (or more likely, a series of them). The characters are given background only if and when they are needed.
Like I said, there's really no time to develop subtly-nuanced performances. The film moves with such breakneck energy that to do so would only slow it down. There are only a few characters that really matter. Rocket (Alexandre Rodrigues) is our window into the hellish slums. The result isn't voyeuristic, instead Rocket is more like a guide (albeit with only the narration addressing the audience). He's a normal teen, with interests in girls (particularly Angelica (Alice Braga)), sex, and aspirations to be a photographer. But his main goal is simply to survive each day. Also of note is Li' Ze, who we see growing up with a taste for violence as a kid (kids shoot and kill people just as frequently, if not more so, than adults). His increasingly drug-addled brain and his ambition makes him more frightening by the minute. The only one who keeps him grounded and (relatively) under control is Benny (Phellipe Haagensen), the "coolest hood in the City of God." There's some truth in that statement, as spoken by Rocket. He's the shed of brightness in this hellish city (though he's no goody-two-shoes). Finally, there is Lil Ze's rival, Knockout Ned (Seu Jorge), who has the film's most notable character changes.
But this is Fernando Meirelles movie. He throws in everything he can think of, and then some. References to Tarantino are abound, and there are probably more, but Meirelles takes the energy level up so high that there's no room for even a "please" or "thank you." Desaturated colors. A constantly moving camera. Loud noises. An upbeat soundtrack (which is the film's saving grace from becoming too grim). It's all here.
People may not agree with me that this is the best film ever made, and that's okay. I respect that. But make no mistake, it's an unforgettable 130 minutes.
- moviesleuth2
- Jun 19, 2008
- Permalink
A no holds barred look at life in the slums of Rio de Janeiro, a place that consumes many, but now and then, people escape and make good.
It is an outstanding piece of cinema, I was told to watch it, that I would enjoy it, it absolutely blew me away.
I would argue this film isn't for everyone, it's not a thriller of drama as such, it's too real for that, instead it's a detailed look into real life. It's not casual viewing, you need to concentrate, so ensure you have two peaceful hours to absorb it.
Relentless, bleak, at times it's quite upsetting, if you're sensitive, this will leave a mark on you, several of the scenes which involve kids are quite hard to follow.
Gun violence, drugs etc, it really doesn't hold back, it's graphic. The visuals for me are the film's best element, it looks terrific, it's very stylish.@
The acting is terrific, especially when you consider the size of the cast, and the number of youths.
10/10.
It is an outstanding piece of cinema, I was told to watch it, that I would enjoy it, it absolutely blew me away.
I would argue this film isn't for everyone, it's not a thriller of drama as such, it's too real for that, instead it's a detailed look into real life. It's not casual viewing, you need to concentrate, so ensure you have two peaceful hours to absorb it.
Relentless, bleak, at times it's quite upsetting, if you're sensitive, this will leave a mark on you, several of the scenes which involve kids are quite hard to follow.
Gun violence, drugs etc, it really doesn't hold back, it's graphic. The visuals for me are the film's best element, it looks terrific, it's very stylish.@
The acting is terrific, especially when you consider the size of the cast, and the number of youths.
10/10.
- Sleepin_Dragon
- Oct 4, 2023
- Permalink
Wow, what a great movie! I'd heard plenty about this low budget Brazilian gangster film before I got around to seeing it when it showed on television in the middle of the night, but I was fully prepared to be disappointed. Many times a film has been hyped up so much that it's a let down when I finally see it, but not so this one: CITY OF GOD is a tremendous film, a masterpiece in fact. In many ways it's like a lower budget, more realistic version of the classic gangster films made by the likes of Martin Scorcese and Guy Ritchie and in many places it equals the heights of those two directors at the top of their game.
The film follows the misadventures of various, almost feral children as they attempt to eke out an existence and then a living as they grow up in a Rio de Janeiro slum in the '60s, '70s and '80s. The central narrator isn't a gangster at heart; all he wants is to become a photographer and yet he's caught up time and time again in the violence surrounding his drug-dealing friends. Particularly good is Leandro Firmino as Li'l Ze, a psychotic hood who becomes a gang leader and who thinks nothing of having kids executed if they dare so much as get in his way.
The direction is top notch, with Fernando Meirelles employing hand cameras on more than one occasion, so that this has a vivid, on the street look to it. The editing is slick and sleek, the music fits the action perfectly, and almost every actor seems to fit his or her role like a glove. I'm trying to think of things to criticise, but there's nothing, really: the story drew me in, got me interested in finding out what happened to the characters, and before I knew it a good two and a half hours had gone by while I sat back and was lost in this film's world. Of course, it's a tremendously violent movie, unflinching in its depiction of violence against children, and one of the most hard-hitting films I've witnessed, so not for those who prefer family-friendly fare; but if you're up for it, this just might be one of the best, most realistic crime films ever made.
The film follows the misadventures of various, almost feral children as they attempt to eke out an existence and then a living as they grow up in a Rio de Janeiro slum in the '60s, '70s and '80s. The central narrator isn't a gangster at heart; all he wants is to become a photographer and yet he's caught up time and time again in the violence surrounding his drug-dealing friends. Particularly good is Leandro Firmino as Li'l Ze, a psychotic hood who becomes a gang leader and who thinks nothing of having kids executed if they dare so much as get in his way.
The direction is top notch, with Fernando Meirelles employing hand cameras on more than one occasion, so that this has a vivid, on the street look to it. The editing is slick and sleek, the music fits the action perfectly, and almost every actor seems to fit his or her role like a glove. I'm trying to think of things to criticise, but there's nothing, really: the story drew me in, got me interested in finding out what happened to the characters, and before I knew it a good two and a half hours had gone by while I sat back and was lost in this film's world. Of course, it's a tremendously violent movie, unflinching in its depiction of violence against children, and one of the most hard-hitting films I've witnessed, so not for those who prefer family-friendly fare; but if you're up for it, this just might be one of the best, most realistic crime films ever made.
- Leofwine_draca
- Feb 16, 2016
- Permalink
This movie is absolutely amazing! It is a cinematic tour de force. It is undoubtedly one of the top ten best movies ever made. Comparable to American masterpieces such as Goodfellas or Pulp Fiction. But it is its own unique film.
It is based on a true story of one boys desperate attempt to survive and escape the city of god (the slums of Rio de Janeiro) a truly brutal and violent place. A place where murders, holdups, drugs, and criminals are commonplace.
This film announces the presences of a truly talented filmmaker, Fernando Meirelles. He directs this film with a ferocious, frantic, intensity perfectly merging every aspect of the film. He uses many different filming tricks from split screen to freeze frame. Each one is used at exactly the right time for the exact right reasons.
All of this combines to make an unforgettably perfect cinematic masterpiece that i highly recommend. 10/10 A++
It is based on a true story of one boys desperate attempt to survive and escape the city of god (the slums of Rio de Janeiro) a truly brutal and violent place. A place where murders, holdups, drugs, and criminals are commonplace.
This film announces the presences of a truly talented filmmaker, Fernando Meirelles. He directs this film with a ferocious, frantic, intensity perfectly merging every aspect of the film. He uses many different filming tricks from split screen to freeze frame. Each one is used at exactly the right time for the exact right reasons.
All of this combines to make an unforgettably perfect cinematic masterpiece that i highly recommend. 10/10 A++
- phoenix-ks
- May 3, 2005
- Permalink
- MobileMotion
- Jun 6, 2005
- Permalink
There are certain people who have developed a very negative view towards Hollywood movies and U.S. cinema. In this mindset, any movie coming from the US is automatically lambasted, while non-US cinema is praised without merit. City of God, or Cidade de Deus, is one such case. Its serious overvaluing can only be attributed to a cloudy-eyed sentimentalism for the real situation behind the movie without even considering whether the movie itself has value in portraying that situation. And the unfortunate case is, no. Meirelles and Luns' generic directing is completely devoid of feeling and insight, and the actors are merely going through the motions, lacking any emotional impact in the actual proceeding of the screenplay. For these failings, the film collapses into a jiltingly generic mashup of violence and crime, with nothing to tell. There is no shock value, there is no empathy, there are no thoughts evoked. Perhaps this movie has some appeal and bearing to people who are more closely connected to Brazil and the kind of events portrayed, seeing as they can draw from another experience to put some weight into the matter, for this film by itself has none. It takes a special kind of pretentiousness and self-delusion to rate this film highly on its own merits, and the kind of a critic that dares not criticize a film with a sensitive subject. Yet this film desperately needs more of a voice of reason to call it for the empty shell it is.