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City of God (2002)

Cidade de Deus (original title)
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Two boys growing up in a violent neighborhood of Rio de Janeiro take different paths: one becomes a photographer, the other a drug dealer.

Directors:

, (co-director)

Writers:

(novel), (screenplay)
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Top Rated Movies #21 | Nominated for 4 Oscars. Another 66 wins & 38 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
...
Zé Pequeno - Li'l Zé (as Leandro Firmino da Hora)
Phellipe Haagensen ...
...
...
Matheus Nachtergaele ...
...
Mané Galinha - Knockout Ned
Jefechander Suplino ...
Alicate - Clipper
...
Emerson Gomes ...
Barbantinho - Stringy
Edson Oliveira ...
Michel de Souza ...
Bené Criança - Young Benny (as Michel De Souza Gomes)
Roberta Rodrigues ...
Luis Otávio ...
Maurício Marques ...
Cabeção - Melonhead
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Storyline

Brazil, 1960s, City of God. The Tender Trio robs motels and gas trucks. Younger kids watch and learn well...too well. 1970s: Li'l Zé has prospered very well and owns the city. He causes violence and fear as he wipes out rival gangs without mercy. His best friend Bené is the only one to keep him on the good side of sanity. Rocket has watched these two gain power for years, and he wants no part of it. Yet he keeps getting swept up in the madness. All he wants to do is take pictures. 1980s: Things are out of control between the last two remaining gangs...will it ever end? Welcome to the City of God. Written by Jeff Mellinger <jeffmellinger@astound.net>

Plot Summary | Plot Synopsis

Taglines:

Based on a true story. See more »

Genres:

Crime | Drama

Motion Picture Rating (MPAA)

Rated R for strong brutal violence, sexuality, drug content and language | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

Release Date:

13 February 2004 (USA)  »

Also Known As:

City of God  »

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Box Office

Budget:

$3,300,000 (estimated)

Opening Weekend:

$541,996 (Brazil), 30 August 2002, Limited Release

Opening Weekend USA:

$114,442, 19 January 2003, Limited Release

Gross USA:

$7,563,397, 20 June 2004

Cumulative Worldwide Gross:

$18,062,482, 6 November 2003
See more on IMDbPro »

Company Credits

Show more on  »

Technical Specs

Runtime:

|

Sound Mix:

|

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Fernando Meirelles wanted the cast to consist of people who had never acted before and professional actors who were not widely known. One such actor was Matheus Nachtergaele, whom Meirelles had seen in a play. While Meirelles was working on the script, however, Nachtergaele suddenly became a huge star in Brazil after starring in the hit film O Auto da Compadecida (2000). Meirelles was a little disappointed at first but Nachtergaele promised him that he would disappear into the role of Sandro Cenoura so completely that his stardom would not distract from the film. He actually moved to the real Cidade de Deus where most of the cast lived and lived there for three months to prepare for the role. See more »

Goofs

In the scene where the tender trio are robbing the gas man and giving out the free gas, when the police arrive and the gang are running off, in the back ground there is a woman in a yellow dress carrying a big gas canister, yet in the next shot she is seen running in the same spot without the gas. See more »

Quotes

[first lines]
Zé Pequeno: Whoa, the chicken ran away. Get that chicken, dude!
See more »

Crazy Credits

During the end credits there is shown actual real-life footage of the real Mané Galinha, or Knockout-Ned as he is translated into in the American version of the film. This is in fact the same TV interview we see constructed in the film, and we can see that the filmmakers have copied this TV interview down to the smallest detail. See more »

Connections

Referenced in In Search of a Midnight Kiss (2007) See more »

Soundtracks

Magrelinha
Written by Luiz Melodia
Performed by Luiz Melodia
Warner Chappell Edições Musicais Ltda
Used by permission from Universal Music Ltda
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Cidade De Deus
8 January 2003 | by See all my reviews

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.


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