City of God is a Brazilian film directed by Fernando Merirelle and released in 2003. The film was nominated for four Oscars and won 49 international awards notably for directing, editing and screenplay. City of God tells a story of two boys who grew up in the slums and how they struggle to lead a better life; one pursuing a career as a photographer and the other imposing his reign of terror by using drugs and weapons. Like the Samba dance, the fast pace editing and quick cuts create a tapestry of different related stories to portray the reality of life in the slums of Rio de Janeiro.
The film is based on a real story that was first published in a novel by Paulo Lins. Through the narration of the main film character, Rocket, the audiences are presented with the reality of life in the Brazilian slums, located in isolation away from the rich neighbourhoods. Poverty and social problems in the slums are manifested skilfully with simple direct narration and image rich scenes where the roots of the problem are exposed by Rocket’s voice over telling the viewers about drugs, police corruption, racism and the desire to leave the slums for a better life whatever the price may be.
Although the film is based on a true story, showcases real television interviews with real gangster at the end credits, adapts several hand held camera techniques and uses still photography with Ken Burn’s effect, it can not be referred to as shot documentary style. City of God has a style of its own that makes it a feature film filled with stories documented and commented on through the perspective of an aspiring photographer. The film transforms every detail of the commentary into a scene filled with details and rich composition where viewers are able to follow with ease what seems to be a complicated storyline rife with gangsters’ nicknames.
Editing in the City of God took the look and feel of a samba dance. With quick cuts and fast pace editing Daniel Rezende, the film’s editor, succeeded in keeping the eyes of the film’s viewers mesmerized for over two hours. His cuts, fades and dissolves were the classic tools of his editing skills, but he also utilised different editing techniques that added depth to the story. It’s important to note that the editor also manipulated efficiently the temporal and spatial space of the film using techniques like split screen, fast forwarding and quick shots to take the audience from the present to the past and from one location to another. Rezende was very skilful in using the bullet time effect (first introduced in Matrix) to take the audience from the 80s to the 60s in a 360 degree circle where Rocket, the film’s hero found himself literally right in the middle between the gangsters and the police. Another cool effect the editor utilized was the “bullet tracking shot”, where the camera follows the trajectory of a bullet in high speed as it passes its target or ricochets off the wall. These editing techniques will definitely refute any claim that this film was shot documentary style, rendering it a unique film with its own artistic choices.
One of the things that audience might notice in this film is its tonality. The film’s tones start yellowish depicting the sixties period where petty crimes were not that of a big deal. It develops to bluish shades portraying the seventies where crime and violence escalated to a repulsive degree thanks to weapons and drugs, making crimes and killings the norm in the slums of Rio de Janeiro. The tonality of the film finally turns to a day light like colour at the end of the film as it evolves in its narrative towards the eighties.
City of God is a must see film for anyone interested in fast paced editing and directing. The film’s story is an eye opening fact of how life really is or was in the Brazilian slums, and how the vicious cycle of violence might not be easily ended but could be balanced from within.
Written by Sam Meddaka as film review for 417 digital media class.
Although the film is based on a true story, showcases real television interviews with real gangster at the end credits, adapts several hand held camera techniques and uses still photography with Ken Burn’s effect, it can not be referred to as shot documentary style. City of God has a style of its own that makes it a feature film filled with stories documented and commented on through the perspective of an aspiring photographer. The film transforms every detail of the commentary into a scene filled with details and rich composition where viewers are able to follow with ease what seems to be a complicated storyline rife with gangsters’ nicknames.
Editing in the City of God took the look and feel of a samba dance. With quick cuts and fast pace editing Daniel Rezende, the film’s editor, succeeded in keeping the eyes of the film’s viewers mesmerized for over two hours. His cuts, fades and dissolves were the classic tools of his editing skills, but he also utilised different editing techniques that added depth to the story. It’s important to note that the editor also manipulated efficiently the temporal and spatial space of the film using techniques like split screen, fast forwarding and quick shots to take the audience from the present to the past and from one location to another. Rezende was very skilful in using the bullet time effect (first introduced in Matrix) to take the audience from the 80s to the 60s in a 360 degree circle where Rocket, the film’s hero found himself literally right in the middle between the gangsters and the police. Another cool effect the editor utilized was the “bullet tracking shot”, where the camera follows the trajectory of a bullet in high speed as it passes its target or ricochets off the wall. These editing techniques will definitely refute any claim that this film was shot documentary style, rendering it a unique film with its own artistic choices.
One of the things that audience might notice in this film is its tonality. The film’s tones start yellowish depicting the sixties period where petty crimes were not that of a big deal. It develops to bluish shades portraying the seventies where crime and violence escalated to a repulsive degree thanks to weapons and drugs, making crimes and killings the norm in the slums of Rio de Janeiro. The tonality of the film finally turns to a day light like colour at the end of the film as it evolves in its narrative towards the eighties.
City of God is a must see film for anyone interested in fast paced editing and directing. The film’s story is an eye opening fact of how life really is or was in the Brazilian slums, and how the vicious cycle of violence might not be easily ended but could be balanced from within.
Written by Sam Meddaka as film review for 417 digital media class.
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