🎦 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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This movie in effect is fast paced and hard to follow
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.
"One of the best films you'll ever see!"--Roger Ebert, does it live up to the hype?
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
Slick and Annoying MTV Favela movie
This movie proves that foreign directors are perfectly capable of putting out soulless Hollywood crap too. This movie has nothing to say about Brazil, nothing to say about the rise of crime in Rio's shantytowns, and ultimately nothing to say about any of its characters. And to make things even worse, it ruins almost every dramatic scene by applying utterly pointless fastmo/stop sequences, the should-be-banned-forever shakycam, and the super-annoying fastcut MTV style edits that not only suck, but are hopelessly dated. The only people this movie will impress are film-critics and Tarantino-wannabes.

I won't waste your time with the story since you've seen it in about 100 movies before this one. Nothing intrinsically wrong with telling a boys from the hood gangster story, but its just not in and of itself strong enough to carry the movie. Lil'Dice grows up to be a big boss then gets killed. Yawn. Rocket escapes poverty (I guess) by becoming a reporter. Snore. A bunch of other guys get killed before we have any chance to figure out who they are. Zzzzzz.

The music is buried in the background for the most part, and when it takes center stage, it's often stuff like "Kung Fu Fighting" which sounds more like Hollywood shorthand for "the 70s" than any real attempt to capture what favela kids were listening to back then. I swear it feels like this movie was scored by an American right down to the rustic types playing their little guitars on the street.

The acting is fine but can't escape the one-dimensional writing. The Tender Trio are amiable thugs whose roles in this movie are completely superfluous. Lil Dice is 100% bad, Rocket is 100% good, and Benny is so underwritten that we don't really care what, if anything, motivates him. The one character who might have acquired some depth (and around whom the entire movie should have been built) is Knockout Ned, a bus driver who turns into a murderous gangster. He, more than anyone else in this movie, embodies everything that went wrong in the favelas in the 80s--a deadly combination of ex-military and drug gangsters, with the military guys supplying the connections for heavy firearms, the organization to mold the drug warlords armies, and the training to shoot to kill rather than simply spray bullets around. Knockout Ned is portrayed as a "hero" of course, even though so many of his kind were anything but heros, taking advantage (and often creating) the total anarchy of the favelas in order to grow rich and powerful.

The cinematography often makes this film all but unwatchable. Fast cuts, speedups, filter shots, the abysmal strobe-light sequence on the dancefloor. All of this is crap and totally kills every scene where its employed. The one great scene in this movie (where Lil Dice shoots one of the "runts" in the foot, then forces another young kid to decide which of the two "runts" to kill) is devastatingly effective because it doesn't use any crap film tricks at all. It's a tense, realistically portrayed scene shot at medium distance which manages in a few minutes to show just how the mindlessly violent generation of the 90s came into being. If the whole movie had been like this, it would have earned all the critical praise heaped on it.

But of course, the whole movie isn't like this because the director is too busy showing off his technique to worry much about how the scenes connect. Copying Tarantino's style of putting little titles up for each segment, he seems to utterly forget what story he's telling, jumping around from character to character, and even short flashback loops like the whole "apartment" sequence that he seems to think build dramatic tension whereas all they really do is shout "hey, look at how cool this narrative technique is!" It might be cooler if we hadn't seen the same "Lil Dice takes over another dealer's turf" sequences so many other places. And all the praise about how "realistic" this is must be coming from critics who think Quentin's films are realistic because almost all the violence is as perfunctory and fake as any movie coming out of Hollywood these days. In the end, this feels as plastic and stylized as any gangster rock video, and carries the same emotional weight.

In short, a real disappointment. Essentially a tired American gangsters from the hood movie shot with a Brazilian setting.
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.
City of God is a film that takes place in the favelas of Brazil. It is a crime drama that revolves around guns, love, sex and drugs.
Brazil, the beautiful country located South America has many documentaries displaying its beauty. The City of God has an establishing shot where we see the chaos that is in the favelas of Brazil. The sound editing of the film was superb. There are moments in the film where you completely do not notice the sound editing, but there are scenes where you look back on and realize how genius the sound editing was. Good sound editing is forgotten about because it was either not terrible but not great. Great sound editing is noticed. City of God plays with mundane sounds and makes us feel them. Gun shots are expected in a gangster movie, but City of God creates a symphony with the gun shots. Some shots are louder than others, some gun shots also resonate longer. There is also a melodic tempo in which the gangs shoot their guns. The mise-en-scene in the film is also simple, but powerful. We look into the homes of many of the characters. Most of the characters live in poverty, we see this reflected in their homes. Although the characters do not have much, we can tell a story alone based on the items they wear and the objects that that they have. City of God is a great film that recommend everyone should watch. The sound editing plays along with the great dialog and the mise-en-scene is simple, but effective. City of God opens your eyes to the beauty and travesty of living in some parts of Brazil
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.
One of my top 10
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.
If it's not from Hollywood, it must be good
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.
A Cinematic Feat
City of God, co-directed by Fernando Meirelles and Katia Lund, is a gripping tale about life in the slums, or favelas, of Rio de Janeiro, Brazil. In particular, the film follows the story of a boy named Rocket, who is determined to not become a street hood like most young boys his age, and instead become a photographer. Another main character the film chronicles is Lil' Ze, a determined youth with the end goal of taking over all of the illegal drug operations and other activities in the favela.

The Brazilian favela is perhaps one of the worst examples of slums in the world. Criminals run rampant, and there is a feeling of lawlessness and apathy from the government towards the areas. As Rocket (who also serves as narrator in the movie, when need be) clearly explains the situation in the opening minutes of the movie: "We came to the city of god hoping to find paradise. Many families were homeless due to flooding, and acts of arson in the slums. The big wigs in government didn't joke around. Homeless? Off to City of God! There was no electricity, paved streets or transportation. But for the rich and powerful, our problems didn't matter. We were too far removed from the picture perfect postcard image of Rio de Janeiro." The directors capture this feeling almost perfectly. Meirelles and Lund take an extremely objective view towards life in the favelas, not playing favorites or trying to draw sympathy for those who live there. The only compassion one feels for the characters is of their human emotions, like Knockout Ned's family being killed, or Rocket losing the girl of his dreams. The main goal of the directors is to report on the conditions and lives of those who live in the favelas, rather than editorialize. There are no scenes of comparison between the favelas and the nice tourist sections of Rio, scenes that would normally be added to draw sympathy from the audience. Based on information known about the favelas, City of God paints an extremely accurate and telling picture of these slums, and even gives greater detail than what they teach in the history books. For example, the story of the runts was interesting and surprising to see that children get caught up in the hood-life so early.

Aside from its historical context and importance, City of God is a great piece of cinema. The actors, mostly non-professionals (in fact, the only star really is Seu Jorge, a famous Brazilian samba artist who made his acting debut in the movie, and has since gone on to have a minor role in 2004's The Life Aquatic With Steve Zissou), are extremely believable as their characters, giving the movie almost a documentary feel. The cinematography is also stellar. Many scenes appear almost washed out, and very vintage with high contrast, creating a gritty visual landscape. The screenplay of City of God itself has also spoken beyond the Portuguese language barrier. The film has a cult status among college students and those in the know. Many see it as the 21st century's first stellar gang-wars type movie, a la Scarface or Goodfellas.

Overall, City of God is an amazing movie. It has even had effects beyond the screen, provoking the Brazilian government to make social reforms in the favelas after the public became more aware of the conditions through the movie. It is rare for a film these days to have this sort of far reaching effect. I give it a 9 out of 10, only because I felt like it could have been shortened by about twenty minutes or so..
In my opinion, this movie is one of the best biographies and crime movies.First of all it is based in real statements and thats is awesome.In addition this movie teaches you a life lesson and also is interesting.I think its a special movie cause if someone watch it,he can understand thats the jobs such as policemen,lawyers and other can be persons with out values and money can buy them.The movie take place in Brazil especially at Rio De Janeiro at 60s while 80s and its starting with a young crew of gangster who do everything to make money and become powerful..expect one of the kids who follows the 'good' way and he became a photographer and we can see the deferents of these 2 ways.I highly recommend this movie to everyone it worth your time .....
📹 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. 📀