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Cidade de Deus (2002)

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0:59 | Trailer
In the slums of Rio, two kids' paths diverge as one struggles to become a photographer and the other a kingpin.

Directors:

Fernando Meirelles, Kátia Lund (co-director)

Writers:

Paulo Lins (novel), Bráulio Mantovani (screenplay)
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722 ( 89)
Top Rated Movies #20 | Nominated for 4 Oscars. Another 66 wins & 38 nominations. See more awards »

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Cast

Cast overview, first billed only:
Alexandre Rodrigues ... Buscapé - Rocket
Leandro Firmino ... Zé Pequeno - Li'l Zé (as Leandro Firmino da Hora)
Phellipe Haagensen Phellipe Haagensen ... Bené - Benny
Douglas Silva ... Dadinho - Li'l Dice
Jonathan Haagensen ... Cabeleira - Shaggy
Matheus Nachtergaele Matheus Nachtergaele ... Sandro Cenoura - Carrot
Seu Jorge ... Mané Galinha - Knockout Ned
Jefechander Suplino Jefechander Suplino ... Alicate - Clipper
Alice Braga ... Angélica
Emerson Gomes Emerson Gomes ... Barbantinho - Stringy
Edson Oliveira Edson Oliveira ... Barbantinho Adulto - Older Stringy
Michel Gomes Michel Gomes ... Bené Criança - Young Benny (as Michel De Souza Gomes)
Roberta Rodrigues Roberta Rodrigues ... Berenice - Bernice
Luis Otávio Luis Otávio ... Buscapé Criança - Young Rocket
Kiko Marques Kiko Marques ... Cabeção - Melonhead (as Maurício Marques)
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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:

15 miles from paradise...one man will do anything to tell the world everything. See more »

Genres:

Crime | Drama

Certificate:

16 | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Brazil | France

Language:

Portuguese

Release Date:

6 February 2003 (Netherlands) See more »

Also Known As:

City of God See more »

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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

Cumulative Worldwide Gross:

$32,059,295
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

|

Sound Mix:

Dolby Digital | SDDS

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

When Knockout Ned ("Mané Galinha" in the Brazilian original) kills someone for the first time, some people who live in the City of God approach him and congratulate him on the killing. The first woman to talk to him was played by the mother of the real Knockout Ned. See more »

Goofs

When Knockout Ned is yelling over the dead boy, the body is breathing. See more »

Quotes

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

Crazy Credits

The closing credits shows pictures of the main actors, their name, their character's name and pictures of the real life characters (for the ones based on existing people). See more »

Alternate Versions

The UK DVD displays the decade titles in English rather than Portuguese. See more »

Connections

Featured in Renegade Cut: City of God: Poverty & Privation (2018) See more »

Soundtracks

So Very Hard to Go
Written by Emilio Castillo / Stephen M. Coppock
Performed by Tower of Power
Bob-a-Lew Music / Arika Music
Courtesy of Warner Bros. Records Inc.
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Frequently Asked Questions

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User Reviews

Tall and Tan and Young and Packing
26 April 2004 | by siriverSee all my reviews

'What are you doing, you're just a kid?' "I steal, I kill, I carry a gun, how can I be just a kid? I am a man."

Many who visit Brazil the first time, tend to view Brazilians as lacking serious ambition. They seem to party the night away, and appear to seldom work. The old joke about Brazilians is that they have breakfast at 2:00 in the afternoon.

But such a narrow view does not take into account the fact that while we in America work to live, sweating away for pennies which the government steals at every turn, they in Brazil Live to Live. It is a different kind of living, a life that sambas with the vibrance of the swaying palm and the bounding drum. A life that understands that we are only on this earth for a cup of cafezinho, and we should have fun while we can before the end comes, but quick.

But as the City of God also shows us, Brazilian life is often nasty, brutish and short. A certain degree of anarchy overshadows all the denizens of the film. But Director Fernando Meirelles takes a situation lacking definite boundaries and clear authority, and creates a framework, a structure, that of Gang Rule. The gang-members are not seasoned, old-time criminals like Fredo Corleone or even Tony Montana. Instead, they are a bunch of sweet-faced kids. No one is older than 25, partly because of choice, but mainly because no one lives past this age.

On the surface, in this context, City of God is a coming of age story of two young people, a sort of Brazilian "Angels With Dirty Faces.' One character escapes from the City of God, while the other succumbs to it.

But when one scratches beneath, one finds the film a comment on the morally bankrupt City of God in Rio De Janeiro, and a mirror on Brazil itself. Far away from the party hopping, Travel and Leisure postcard perfect white beaches, is another world, one of marauding bands of displaced children.

The most surprising thing about City of God is its references to American films. Most Brazilian films, as the films of all countries do, owe allegiance to their own particular cultural situation. Brazil owes a cultural debt to Europe (Portugal, Germany, Italy) and Africa. However, the United States has a far more distant cultural relationship to Brazil. That is where City of God triumphs to me an American film goer. It uses the chapter format made famous in Pulp Fiction and more recently, Kill Bill. It uses the familial structure present in Goodfellas. It uses the 'white-suit cool' present in Miami Vice and the Bacardi and cola ads from the preview before this very movie.

The fact that City of God can be subtitled Grand Theft Auto: Sao Paolo, is not a surprise nor a mistake. The film is built like a video game in its use of random acts of violence. But the fluid perfect camera work and editing give way to a film with enormous contradictions. Contradictions as large and as vast as the noble country itself.

Stylistically, the camera work does not conform to its premise as a gangster film. A gangster film never looked this good. It is as if the camera is released in the wide open beaches, and kicked around like one of Ronaldinho's headers. It starts on the sand and moves steadily across. It picks up on the story but then heads into the sun. It then leaves us, the film-viewer, with the most indelible image in years as we see Sonia Braga (A world icon and sex symbol of Brazil)'s niece, sitting on the sun-drenched coast putting her arm around another young boy. The innocence conveyed in this scene is something to behold. It literally takes your breath away.

You see the slamming of different, competing themes. You see the subtlety and tranquility of the beach, smashed into scenes of battered youths dying on city streets. You see a wealth of hypnotic ambiguous images pulled together, much like the very Culture of Brazil itself.


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