🎦 City of God full movie HD download (Fernando Meirelles, Kátia Lund) - Crime, Drama. 🎬
City of God
Brazil, France
Crime, Drama
IMDB rating:
Fernando Meirelles, Kátia Lund
Alexandre Rodrigues as Buscapé Criança - Young Rocket
Leandro Firmino as Dadinho - Li'l Dice
Phellipe Haagensen as Bené Criança - Young Benny
Douglas Silva as Dadinho - Li'l Dice
Jonathan Haagensen as Cabeleira - Shaggy
Matheus Nachtergaele as Sandro Cenoura - Carrot
Seu Jorge as Mané Galinha - Knockout Ned
Jefechander Suplino as Alicate - Clipper
Alice Braga as Angélica
Emerson Gomes as Barbantinho - Stringy
Edson Oliveira as Barbantinho Adulto - Older Stringy
Michel de Souza as Bené Criança - Young Benny
Roberta Rodrigues as Berenice - Bernice
Luis Otávio as Buscapé Criança - Young Rocket
Storyline: Brazil, 1960's, City of God. The Tender Trio robs motels and gas trucks. Younger kids watch and learn well...too well. 1970's: 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. 1980's: Things are out of control between the last two remaining gangs...will it ever end? Welcome to the City of God.
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A Must See Film
I knew nothing about this film before I actually saw it. Considering it was one of the first foreign films I had ever seen I was shocked that I enjoyed it that much. The acting is brilliant, the story is delightful and very understandable. Everything has been put together and made a compelling finish. The camera work helps the film to be so gratifying especially for someone who does not understand the language the film is made in. Every angle tells a different story so you never draw your eyes away for a split second as the film captivates you that much you do not want to a miss a single shot. The director has admirably captured the idea of the poverty, crime, drugs and violence and throughout that you follow Rocket (the one ounce of hope of escapism from the favelas). Considering I had never really enjoyed a foreign film before I would say this was a great one to see and I found it very satisfying and would definitely watch it again.
A Study in Brutality
City of God was a study in brutality. Offending all of the senses, the movie proceded in using a multisensory approach to capture the very essence of violence, in every sense of the word. Human beings of every age were tortured and murdered. A main character was depicted inflicting multiple injuries and deaths while laughing hysterically. I had to wonder what the point of the movie was. Any claim to artistic expression evaded me, entirely.
while still fresh in my mind.......

Quite a gritty orange tinted vacation I had in the slums of Rio. I could almost taste the dust and feel the heat in some of the scenes. A bit jarring to have a story told in an order known only to the director but I dutifully followed along as it tied together and everyone connected.I'm positioned by the camera too close to faces of people in the apartment and I don't like the smell of fear and sweat. While this repetitive tale was overkill on murder and machismo,I don't complain for some reason. Perhaps in my drive-through bank and sushi world this is what I needed to see in order to understand life doesn't change in the city of god,everyone dies and childhood ends when you can walk and hold a gun.A going away party and then you die....
City of God is the name of a city in the slums of Rio de Janeiro where this movie takes place. It tells the story of what its like living and growing up in a city where violence is common and drug lords had more power than the police.

By the short synopsis I just gave, one might think that this is a dark and horrific film to watch. While some scenes containing violence are scary, others are not and that is what is interesting about this film. Sound largely influences the film, upbeat music plays while a drug lord shoots a child, the drug gang smiles big for a picture each one slinging an assault rifle, kids becoming soldiers is celebrated… This film is shocking in the various ways that it tries to desensitize its audience to murder, rape, and drugs. In this way, the film truly attempts to get its audience to understand how common these tragedies were in the City of God.

Although a violent movie, there are times when the mise en scene is absolutely breathtaking. Taking place in Rio de Janeiro, the sun is shining and the beaches are hot. When the movie cuts to the beaches, we see a happier and safer City of God. These scenes are not long because the film tries to maintain that nobody is truly ever safe if they live in the City of God. I highly recommend this thought provoking movie to anyone.
The Best Film Ever Made
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.
An unsparing portrait of a sociopathic generation
"After the first death, there is no other" - Dylan Thomas

In Brazil there are 120 million people. 50% of them are under 21. 28 million of them live below the lowest standards set by the International Children's Rights Agency of the United Nations. Last year 7,000 boys from 12- to 22-years old died in shootings. This is the background for the disturbing Brazilian film, City of God, directed by Fernando Meirelles and Kátia Lund. City of God is a "favela" (government housing project) on the outskirts of Rio de Janeiro where the Brazilian government dumped undesirables and homeless in the 1960s. The film is based on real events described in a novel by Paulo Lins, who lived in the project for thirty years and spent ten years researching the events. It is an unsparing portrait of a sociopathic generation, where manhood is determined by who can kill the most. When a child is ridiculed for being too young to join one of the gangs, he replies, "I smoke, I snort. I've killed and robbed. I'm a man."

The film traces the favela's history over the span of three decades, showing how its children first became petty thieves, then drug dealers, and finally cold-blooded murderers. To make the film, 2,000 children who lived in the City of God were auditioned and 200 were chosen to go to acting workshops where they improvised the scenes. It is narrated by Rocket (Alexandre Rodrigues), who survived the gang warfare and has since become a photographer for a local newspaper. The picture opens with the sharpening of knives and an adrenalized chase scene involving gangsters, guns, a runaway chicken and Rocket coming face to face with the feared gang leader L'il Zé (Leandro Firmino da Hora). It then flashes back to the more sedate 1960s, where three friends, Goose, Shaggy, and Clipper, known as the "Tender Trio," engage in small time robberies and use their guns only to threaten. The remainder of the film is divided into chapters, each depicting different characters and time periods, each extending the violence until it reaches manic proportions.

One of the most disturbing scenes involves the holdup of a brothel and the murder of its patrons. A nine-year old named Li'l Dice (Douglas Silva) is told to wait outside while the Tender Trio robs the customers. He is told to shoot a window if the police come; instead, however, he goes on a killing spree with a big smile on his face, massacring the patrons in the middle of their lovemaking. The second chapter contains the most gut-wrenching scene of all, when L'il Zé, pursues a gang of "runts" who are disobeying his rules, cornering two of the small boys in an alley. He gives a gun to a member of his gang known as Steak-and-Fries (Darlan Cunha), telling him to prove his manhood by killing one of the smaller boys. The two boys start crying, allowing us to witness the real fear beneath the bravado. Yet the madness and violence keeps building from there.

City of God is essentially a horror story that hits you with a punch to the solar plexus. It is very powerful, but also desensitizing in its high-tech stylization and dizzying special effects. It becomes so fixated at simulating a cocaine high by jumping from one character to another with breakneck speed that, unlike the 1981 Brazilian film Pixoteby Hector Babenco, it often fails to allow full comprehension of the human aspect involved. Yet the film deserves praise for its honesty in tackling an issue most of us would rather avoid. In the process, it has uncovered the natural raw energy of children, with no place to use it except in self-destruction. It leaves me to wonder how this energy could be harnessed against a system that encourages and perpetuates this cycle of violence.

City Of God
un, don't walk, to the cinema is all I can say. This electrifying picture is part tender coming-of-age film and part gang-warfare epic from the Brazilian slum, or favela, told from the viewpoint of the children who manage to be both its underclass and its criminal overlords. It's a movie with all the dials cranked up to 11, an overwhelming, intoxicating assault on the senses, and a thriller so tense that you might have the red seat plush in front of you - or even some unfortunate's hair - gripped in both fists.

Crime has, in a nauseous reversal of liberal social thinking, almost been "designed into" the City of God, but any foreseeable conventional breakdown of law and order has evolved one or two steps further into the corruption and degradation of children. Li'l Dice, a tiny kid, plans a staggeringly audacious hold-up of a brothel, but in a fit of pique at being relegated to the status of lookout by his older comrades, returns to the scene of the crime to murder every single innocent customer and employee of the "motel" - it is a truly chilling moment of unalloyed evil.

Meirelles's storytelling rushes forward at a full, breathless tilt, swerving, accelerating, doubling back on itself, amplifying the roles and experiences of incidental characters. A bravura narrative moment reveals itself when he discloses the history of one single apartment, showing how it becomes degraded and denatured as it ceases to be a family home and becomes a drug-dealer's den. Meirelles's film flashes and sweeps around you, dizzying, disorientating, intoxicating.

His mastery of his material consists not merely in the adaptation of Paulo Lins's novel, but a direct engagement with the ghetto itself, and his triumphant recruitment of a veritable army of non-professionals is the result of an almost military raid on this dangerous territory. This is something that combines film-making with oral history. It is a compelling piece of work.
Not nearly as good as advertised...
I saw this movie with a couple of friends, and none of us had any prior knowledge of the film. Interestingly enough, none of us where overly impressed... I only realized afterwards, when I went on to IMDb to write my review, that this is considered by many to be one of the best motion pictures ever made! I was shocked. Not to say that it is a bad movie, because it isn't, but it is nowhere near being very good, let alone a masterpiece.

What is it missing? Well, in my opinion, a lot. For starters, the script is very weak. We hardly get to know any of the characters well enough, and consequently do not care what happens to them. This is a major flaw, a 'conditio sine qua non', I cannot imagine a good movie that does not transmit emotions. The same is with the cinematography... The camera is too hectic, the cuts too frequent, the movie looks too much like a video spot or a commercial. I know it is modern, but I find it unfit for a full length motion pictures.

So why then all the hype? In my opinion, most people living in the developed world nowadays are so far removed from the harsh realities of life, so used to living their comfortable, politically correct, protected, cuddly lifestyles that seeing something like this is so far from their understanding that it 'shocks' them and they believe they are experiencing something metaphysical, highly artistic... Consequently, they praise these movies in the belief that by doing so, it also makes them more 'artistic', because they can 'understand'. How sad.
Magnificent, gut-wrenching and utterly compelling
Do not be fooled by the coy charm of the promotional poster. The image of the girl shyly leaning over to kiss the cheek of a bare-backed boy on golden sands drenched in sunlight represents an ideal that many residents of the City of God strive for, but few achieve.

The rewards are all too tangible: The football, the music, the heady culture of samba and carnival joie de vivre is never far away, but escaping from the slums of Rio is a little more complicated than sloping off to the beach for the afternoon. The City of God is a raging maelstrom of violence, drugs and gang warfare, and its inhabitants are indoctrinated in the way of the gun from an early age.

Fernando Meirelles' film (based on a true story) is a breathtakingly convincing interpretation of life in the notorious Rio favela. Using hundreds of real-life slum children to supplement a superb central cast and shooting entirely around the dusty streets and abject poverty of the neighbourhood, Meirelles charts the history of the area through the narration of Rocket, a peaceable soul with journalistic aspirations who is entirely at odds with the mayhem around him.

Rocket explains how the slum was used as a dumping ground for all Rio's undesirables in the 1960s. Despite a population of criminals and ne'er-do-wells, the early part of the film is an homage to plucky underdog cheeriness and community spirit. Rocket's brother is a member of the 'Tender Trio', a dashing group of bandits who go about brandishing pistols and holding up gas trucks like latter day highwaymen.

Despite an elegant notoriety, the Trio's crimes tend to yield less than impressive fiscal reward, so they plan a heist on a motel-cum-knocking shop in an attempt to up the ante. It goes badly wrong. The gang's lily-livered tendencies mean they make a sharp exit at the first sniff of trouble but, unbeknownst to them, their lookout, unhappy with his passive role in proceedings (as bored nine-year-old little brothers are wont to be), strolls into the motel and fires at will, chortling psychotically as each hooker and john crumples to the floor.

The kid in question is L'il Dice, a chubby Arnold-out-of-Diff'rent-Strokes lookalike with an insatiable lust for mayhem. The motel incident marks a shift in emphasis for the City of God and the following years see the slum descend into chaos as L'il Dice (later renamed L'il Ze) builds a narcotics empire by ruthlessly eliminating the competition.

The streets become a recruiting ground for drug dealers and gang lieutenants. Small children (or 'runts' as they are affectionately known) come to see guns and criminal activity as the only viable rungs up the status ladder. 'I smoke, I snort, I've killed and robbed - I'm a man,' one prepubescent boy states defiantly.

The film culminates in all-out war between L'il Ze's bunch of hoodlums and an idealistic group of insubordinates who throng behind the handsome Knockout Ned after he stands up to Ze's cruel regime. Meirelles is careful not to lionise Ned. Turning him into a hero figure would, I suppose, have romanticised a bitter and essentially futile conflict. Rocket, caught in the middle of the hostility highlights the ultimate irony: 'By the end, after years of fighting, nobody could remember how it all started,' he says. The war becomes the way of life in the favela. Being affiliated to one of the gangs gives the street kids credibility and, more importantly, access to weapons. Before long, guns are being handed out like lollipops, and the runts are running about excitedly firing their new 'toys' indiscriminately. It is the ultimate in power without responsibility.

In their breathless exaltations, many reviewers have dubbed City of God 'Brazil's answer to Goodfellas'. It is a comparison that may be sound in terms of structure – Meirelles has certainly mastered Scorsese's canny editing and daring method of chronicling events over long periods of time – but overall this is a different beast. It is more of a Lord of the Flies with AK-47s. The most alarming aspect of all is the shocking lack of parental presence.

This is essential in conveying the choices these street children have (or rather don't have). L'il Ze and his barbaric ilk become all these poor, impressionable little tykes have to aspire to. In short: they don't stand a chance – a fact sharply illustrated in one particularly distressing and almost unwatchable initiation scene where a young gang recruit is required to murder a cornered infant in order to appease his older colleagues.

But Meireilles does not let this base, visceral tone swamp his movie. In Rocket he has an inspirational protagonist – the perfect foil to the madness and despair. His coming of age scenes where he bashfully attempts to flirt with girls and lose his virginity; and the sequence where he and his mate resort to petty crime only to bottle out when their intended victims turn out to be 'way too cool' to rob are the glue that holds the drama together. Without the light relief this would be intense and depressing fare.

As it is, City of God is a triumph of story-telling: Magnificent, gut-wrenching and utterly compelling, it is cinema of the very highest order.

Do not miss it.

City of God Review
*Spoiler Alert*

City of God, the erratic and fast-paced thrill ride that is as violent as it is coming of age. With a cast of characters that seemed so organic and believable that you confuse the story for their day-to- day reality. Throughout the film, I marveled at the techniques that the director and cinematographer used to amplify their messages. The use of Zooms, Long shots, Split-screen, Freeze frame, slow-motion, and lighting, just to name a few. These techniques made the film extremely visually stimulating and engaging, which coincided with the dark and gritty subject matter. It also has music that is reoccurring to add an emphasis on the culture and to juxtapose with the environment. An environment where the people need "God" the most, meaning: A city of death and violence.

A specific scene that encapsulates this film's tone, subject matter, and techniques is the "Lil Dice bathhouse scene." The bathhouse scene is so significant because of the direct combination of a child, sex, and murder. This scene emphasizes Lil Dice and his psychological development as a child, meaning he displays psychopathic tendencies. The scene also relies on technique to flesh out Lil Dice as dangerous, coupled with the narration to continue a string of narrative. The cinematography focuses on making the victims yelling out of focus (depth of field) to show a mental disregarding of life by Lil Dice. He then murders them, which leads to the mise en scène becoming emphasized. The lighting behind lil Dice is complete low-key, his figure completely disappears in the darkness (figuratively and literally). There is also a yellow-tinted lens used in the scene to set a glorification of killing.

Overall, City of God, is an extremely layered film that is defiantly worth a watch. It is violent but also has a meaning of passion through the main character. I highly recommend this film as a developmental and cinematically engaging journey. The only problems I had were more about the narrative and the films approach in gimmicky story-telling (Rocket and his camera), it felt contrived in the way that Rocket was omniscient.

📹 City of God full movie HD download 2002 - Alexandre Rodrigues, Leandro Firmino, Phellipe Haagensen, Douglas Silva, Jonathan Haagensen, Matheus Nachtergaele, Seu Jorge, Jefechander Suplino, Alice Braga, Emerson Gomes, Edson Oliveira, Michel de Souza, Roberta Rodrigues, Luis Otávio, Maurício Marques - Brazil, France. 📀