🎦 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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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....
One of my favorite movies. I can be very short about this film. Never has a movie evoked so many emotions in such a short period of time from me. From raw excitement during some scenes to sadness in others. The story is very well presented, with realistic characters. The good guys aren't 100% good, nor are the bad guys 100% bad. For me, every character had at least one thing I could relate to, even Zedje. Some may consider the film to be too violent, but I think the violence is needed to realistically portrait the hard life in the City of God, or any other slum where drug cartels are present. A well shot and edited film, with uplifting music, an evoking story an ensemble of characters, uplifting music. What more could one wish for in a movie?
Gangs of Rio
If you're unlucky to be born into a socially, economically and racially isolated community that has poverty, crime, drugs and violence as its everyday realities, the odds are stacked incredibly high against you. It literally takes so much effort, strength, struggle and plain ol' good fortune to simply avoid becoming a gangster, let alone do anything more with life. Most who find themselves in the situation described above never even enter this fight and out of those that do - only the rare ones succeed.

"City of God" depicts this conundrum masterfully.

In a Rio slum called Cidade de Deus we meet character after character that has the right idea, knowledge and courage to get out but somehow always ends up being pulled right back into this vicious circle. Becoming a hoodlum in Cidade de Deus isn't just a fringe career option for disenchanted rebels and social outcasts - it's the main industry.

The images of gun toting pre-teen killers are very disturbing and Meirelles uses them relentlessly to underscore just how hopeless and frighteningly predetermined life is for these kids. Many of them can't read or write but already know how to use a gun and kill without remorse. In a particularly harrowing scene, local drug lord Ze Pequeno or Lil' Ze (Leandro Firmino da Hora) exacts revenge on a disobedient gang of 9 and 10 year olds by incapacitating two of them and forcing one of his own kid soldiers, as initiation of sorts, to choose which one of the two he wants to kill. Faced with death, one of the kids starts crying crocodile tears; suddenly all the bravado is gone and he is shown for what he truly is - a desperately misdirected infant.

'If only these people had more options....' is the sentiment reinforced with every gruesome event.

Of course, this lifestyle comes a little more naturally to some than to others. Ze Pequeno, for example, from an early age when he was known as Dadinho / Lil' Dice shows a considerable lack of aversion to blood and death. In another aptly choreographed scene so that we don't know what exactly happened until much later, he more than 'holds his own' alongside much older gangsters during a motel stickup.

Also on hand is a colourful palette of characters. From our narrator Buscape / Rocket (Alexandre Rodrigues) whose ticket out of the slum is his love of photography over to people like laidback Bene / Benny (Philippe Haagensen), followed by Ze's fierce rival Cenoura / Carrot (Matheus Nachtergaele) or good guy turned bad (although it's not so simple) Mane Galinha / Knockout Ned (Seu Jorge) we see a multidimensional, pulsating, alive community that seems in need of a strong, sustained outside push to finally stop chasing its own tail and get out of this destructive cycle.
Excellent, but overrated by the IMDb-users
"Cidade de Deus" is the breakthrough of Brazilian director Fernando Meirelles ("The Constant Gardener"). It tells the unbelievable but true story of the gang life in a poor neighbourhood of Rio de Janeiro. The neighbourhood is mostly ruled by kids and young adults, who doesn't play cowboy and Indian like most kids of their age do. No, most of the time they are busy dealing drugs, robbing local stores or killing other young adults in order to extend their territory.

The story is told by Rocket, a young guy who tries to live an honest life and not to be involved in the gang life. Fernando Meirelles made an amazing movie of an exceptional story. The story is disturbing and chocking. If it wasn't based on true events, this movie wouldn't have been such a big hit either. It's the combination of an objective style, fast filming, a great soundtrack and the chocking story that made "Cidade de Deus" a revolutionary movie.

Although the events are tragic, don't expect a melodramatic story. I don't think the purpose of the director was to move us. I think he wants as to be chocked after seeing this movie. Although we are confronted with violence on TV every day when we watch the news, the fact that kids are involved in this kind of gang life is really chocking.

Although I really liked this movie, I think it's highly overrated. Personnaly, I don't think it deserves such a high ranking in the Top 250. Nevertheless an excellent movie. 8/10
One of the most impressive (not to mention important) films of the last few years
The title "City of God" is steeped in irony, which becomes all too apparent to the viewer within minutes of watching this. Despite a few points of stylistic influence (namely "Goodfellas"), "City of God" is one of the most memorable films of the new millennium. It uses the sort of flashy editing and quick cuts made popular in mainstream cinema. While this technique can be very tiresome and headache inducing (witness anything by Michael Bay or McG), it can occasionally be used for good effect. To truly capture the frantic danger of the slums of Rio de Janeiro you need truly kinetic film-making to complement it. This film is a triumph in that sense. The film becomes quickly paced as all hell but to its own advantage. You often feel as if you're the center of the action presented on screen. In addition to the mind-blowing style of the film, it actually has an engrossing story to tell with interesting and sympathetic characters.

A film such as this needs a sense of epic for the proceedings to truly work. Therefor we follow the characters throughout the years and through the good times and bad. Despite how horrible the actions they commit, we really get a sense of feel for every person in the film. "City of God" is a completely (and sadly) realistic work. Hopefully this film will call attention to what is taking place in the favelas, because its an unfortunate situation that has been devoid of amnesty for too long. "City of God" is slightly flawed (it can become confusing occasionally and the style grows slightly thin towards the end), but overall its one of the most impressive (not to mention important) films of the last few years. (8/10)
Top notch Brazilian modern classic
Fernando Meirelles' City of God is one of the most dynamic and exhilarating crime-dramas to come out since the new millennium. It has a that peculiarly Latin American energy that can be so seductive. Set in and around the favelas of Rio de Janeiro, it looks at the nature of crime in the poor districts of the city and more specifically the way in which abject poverty feeds organised crime and the drug-trade in particular. It also shows the vicious circle, where the young ultimately rise and seize the crown from their marginally older peers, having been corrupted by their exposure to violence and cynicism since they were infants. This is a crime-drama with a clear social conscience and it is this depth which adds considerably to the overall whole. What makes the film so good is that this realistic drama, well-rounded characters and social significance is fused with an unashamedly highly stylized and very cinematic presentation, with audacious camera pans, jump-cuts and various other flashy techniques used to tell the story. These never over-power the story, however, and are used to add to the excitement at the right moments or to convey lots of information effectively.

The narrative jumps through time also as it tells its story involving many characters. There are two main periods covered – the 1960's when the lead characters are kids and the 1970's when they are teenagers. The period detail is another great benefit, with a soundtrack to match the eras. The main character is a boy called Rocket who dreams of being a photojournalist and abstains from the gang lifestyle. On the other side of the fence are his peers Lil' Zé and Bené who fall into the criminal life, with the former working his way up to being one of the most feared criminals in the city. It's a great story with a multitude of characters, with several disturbing moments but also much genuinely funny comedy as well. It is overall a very well-rounded movie and is one of the most purely exciting cinematic offerings of the 2000's.
Cidade De Deus
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.

Good film with subtitles
Have watched this film 4 or 5 times now and still doesn't get boring. Shows you how life is lived on the streets of Rio and is pretty real life from the way the camera tells the story. From what i have read a lot of the actors and actresses were not know as the director wanted to tell the story of real life people from the ghettos. The story has some great twists and turns and a lot of great action scenes. The gang of children that stick together as a family and the way the robbed and stole together brought to life what they must have to go through in real life.

My review is 9 out of 10 for this film
The Three-Body Problem
Spoilers herein.

The first choice a modern filmmaker has to make is deciding who is the camera. Everything flows from that decision, inheriting already maturing visual vocabularies for each path chosen. It's very hard to be novel today: most interesting projects come from careful integration of a novel eye with a novel narrative stance - parallels, time reversals, untrusted narrators, etc. But here is something new, thanks to the creative incubator of Brazilian TeeVee commercials, one of the more vital pockets of popular art around.

In this case, we have three characters: a narrator/photographer, a dancer, and a `pusher' who literally pushes the linear logic each step at a time. Each of these is represented by a camera philosophy (and accompanying editing style) which are mixed up helter-skelter. The most obvious is the notion of the `running camera' which sometimes looks at the road or away as it moves in frenzy.

This is interspersed with a rhythmic camera. This camera (Benny's eye) is the one that permeated most: it is reasonable yet hedonistic. In the first few seconds, we are introduced to these two in masterful composition: the observing, recording chicken who subsequently runs with a following POV. This is mixed with the aggressive logic of rhythm. If opening shots are promises, this is a strong promise. Over time, the third eye is folded in, literally a folding of linear stories. Each is tightly linear until it hits a node, then goes off on a tangent or a new direction usually paralleling something already seen. Garrison Keiller is the master practitioner of this sort of storytelling; not chopped Clancey-style; not shuffled Tarantino-like; but direct until hitting a capricious nexus, then direct again.

All three are shooters. The story is irrelevant: kids killing kids, albeit sometimes viscerally. The characters are literally disposable. The experience is nominally about the place, but it is really about how we are shown the place. I do not think this will reinvent film like a few projects have (from Welles, Tarkovsky, Greenaway, Kurosawa, even recently Luhrmann) but it is a visual adventure worth taking and a fresh experience.

Ted's Evaluation -- 3 of 4: Worth watching.
City of God view from a film studies student **SPOILERS**
The City of God weaves about five different stories together into an on screen masterpiece. One would think that with that many separate plots the overall story would be lost or hard to understand but that is not the case with this film. The directors use parallel editing and flash backs to help tell the story of each individual character and how they fit into the bigger plot. This could be confusing but the directors use a narrator to help keep the stories straight. Even though this is a film with different stories no character is left undeveloped. Each story is told in the same environment of the other stories, with characters from different stories interacting with each other. This allows the audience to make a strong connection with each character, even if it's not their story. The film is also shot using a lot of close ups, this helps the audience with their connection as it puts them in the personal space of each character. The stories told however are not light stories, all involve the use of drugs, sex, and gang violence, with children taking part in all activates. The movie manages to desensitize the audience to these things though, as it wants to give a feel of what the characters have to live with every day. During some of the darker scenes the lighting is actually fairly bright and the music is upbeat, this assists with the desensitization. To help the audience feel more involved and apart of the story the film is shot with mainly a hand held camera, this physically puts them in the stories, and not as if just viewing it. Overall I would highly recommend this film to anyone, it keeps your interest the whole time, gives you a view into a life that is completely different then here, and by the end of the film you will realize how the cycle continues.
📹 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. 📀