Upheld as an outstanding example of cinematic realism by some, but denounced by others as a

spectacularized Americanized action film devoid of realism. Discuss this divergence of critical
opinion of Cidade de Deus, supporting your argument with detailed reference to the film.

Despite the divergence of critical opinion regarding Cidade de Deuss depiction of reality in Brazils
favelas, the films domestic and international success at the box office is undeniable. Having been
watched by 3.3 million Brazilians in its opening year alone, and awarded 49 prizes internationally, it
is also undeniable that Cidade de Deus has consequently earned an immense amount of influence over
the rest of the worlds collective image of the reality which exists in Brazils favelas. This in turn
renders the question of the films accuracy in portraying reality even more important, not least
because cinema is one of the few art forms capable of transcending social boundaries imposed by
illiteracy and social inequality - a notion supported by Paulo Lins, the author of the eponymous book
from which the film is adapted. In (Matheou, 2010, p. 138) he states I imagined that if City of God
became a film, many more people could participate in the discussion of this reality.
However, in order to accurately answer the question at hand, it is necessary to first define what is
understood by the term cinematic realism, due to the fact that it comprises a host of differing
tendencies and nuances (Duro, Felix, & Ponte, 2012). For the benefit of discussing this particular
film, I believe it is best to define cinematic realism in the context of the Aesthetics of Hunger
theory presented by Glauber Rocha, a Brazilian director often referred to as having been at the
forefront of his countrys most revolutionary cinematic movement, Cinema Novo. Most commonly
used in the 1960s as a tool through which to speak out against Brazils military dictatorship and other
social ills, the Cinema Novo movement undoubtedly drew influence from Italian Neo-Realism, and is
defined by (Rocha, 1965) in the aforementioned Aesthetics of Hunger manifesto. Here, he calls for
Latin American cinema to accurately reflect the harsh realities of life on the continent, by rejecting the
popular feel-good films of Hollywood and Brazilian TV of the time, which painted an idealized image
of social wealth and equality. By forging a cinematic genre designed to speak to and for the working
classes, the Aesthetics of Hunger manifesto proposes an evolving complex of films that will
ultimately make the public aware of its own misery (Rocha, 1965).
Numerous interviews clearly show that Fernando Meirelles, the films director, intended to achieve
cinematic realism in Cidade de Deus. In (Moretz-sohn, 2002) he states we didnt invent this story. It
is like a mirror: the fault lies not with the reflection, but with the reality that it reflects. Similarly, in
(Vieira, 2005, p. 15) he confirms that he wanted the audience to look at Z Pequeno and actually see
the real Z Pequeno, and not an actor playing a role.
However, the shocking content and storyline exhibited in Cidade de Deus has led critics to question to
whom this film was targeted. Its alleged idealization of violence and glamorization of poverty has
fuelled accusations that it promotes only the Cosmetics of Hunger (Nagib, 2003, p. 125). This
implies a direct contrast with the Aesthetics of Hunger, and consequently connotes Cidade de Deus as
an artificial representation of reality.
Through detailed analysis of a number of visual and narrative techniques employed throughout the
film, this paper will discuss the diverging critical opinions regarding Cidade de Deuss accuracy in
representing the reality of life in Brazils favelas, and ultimately demonstrate whether or not it
effectively communicates an authentic depiction of Brazil beyond a merely cosmetic approach. To do
so, it is necessary to first establish the ways in which Cidade de Deus attempts to adhere to the
Aesthetics of Hunger.

The film deploys numerous techniques that liken it to the Cinema Novo genre, however in contrast
with the films of Brazil under military dictatorship, it aims to communicate its message
internationally in order to have a greater effect. Perhaps the greatest similarity between the film and
the Cinema Novo genre is the use of a quasi-documentary style. A prime example of this is evidenced
by the use of real footage taken from an interview with Man Galinha played over the end credits,
along with photographs of the real characters shown next to the actors who portrayed them in the
film. Both of these techniques reinforce the words baseado em historias reais shown on the films
final frames.
Cidade de Deus also attempts to adhere to the Aesthetics of Hunger through the use of actors who
were not professionally trained, most of whom themselves lived in favelas. The reasoning for this is
explained in Meirelles interview with (Vieira, 2005, p. 15) in which he declares that the idea was to
have these unknown actors in order to eliminate the filter, to let the spectator have a direct relationship
with the character. Aside from demonstrating a symbolic rejection of the Hollywoodian idiom
(Duro, Felix, & Ponte, 2012, p. 4) and the North American film industrys modus operandi, this
cinematographic strategy bears great similarity with the films of Cinema Novo, and consequently
allowed for much of the films dialogue to be improvised (Gonzalez, 2003). This in turn resulted in
the use of very natural and colloquial language, which further adds to the audiences perception of the
films authenticity.
Another crucial aspect of the films documentary style is Buscaps first-person narrative, whose
centralized character provides a gateway through which to engage a mass international viewership
with the unfamiliar reality of the favelas drug wars. As the only central character in Cidade de Deus
to reject the life of crime and violence, the audience empathises with Buscap, which in turn affords
his tourguide-like narration even more power and influence over the audiences perception of reality.
Certain critics view the embodiment of Buscap as both the central character and the narrator to be an
example of the Cosmetics of Hunger because the audiences emotional attachment to him detracts
from the reality of poverty and violence, in exchange for a more generic rags to riches storyline
which is synonymous with Hollywood and too far-removed from the Aesthetics of Hunger. However,
it is also possible to argue that Buscaps role as a narrator does not constitute the Cosmetics of
Hunger, because rather than being a story centring only on his life, the film can be interpreted as an
allegorical social commentary which depends heavily on the stories of the other Cidade de Deus
inhabitants in order to portray reality something which could not be achieved as effectively without
the audiences emotional attachment to Buscap and the trust in his narration that it entails.
It is also important to note that Cidade de Deus does not succumb to the Hollywoodian idiom by
culminating in a happy ending. Whilst it is true that Buscap is the only central character to survive,
the underlying message at the end of the film is far from optimistic, as is demonstrated in the films
final two scenes. In the penultimate scene, we witness him take two photos: one of Z Pequenos
bullet-stricken corpse, and the other showing a police officer taking a bribe. This poses the protagonist
with a dilemma, because he knows that whilst the incriminating photo of the policeman would make
him famous, it would also put his life in danger. Therefore, whilst the picture of Z Pequeno offers the
illusion of symbolizing a happy ending because it leads to Buscap securing a new job as a
photographer, the deeper meaning implied by his fear of a corrupt justice system is far more chilling.
Equally, whilst the final scene shows the childrens happiness that their friends death has been
avenged by that of Z Pequeno, it is impossible to describe this as a happy ending due to the implied
reality that these same children have taken control of the favela, and will invariably be killed by the
vicious cycle of death and violence that plagues the Cidade de Deus. It is this realization that if they
dont die on screen, they probably will after this tale is over (Matheou, 2010, p. 137) which supports
the notion that the film adheres to the Aesthetics of Hunger as defined above, because it
undoubtedly succeeds in making the public aware of its own misery (Rocha, 1965).

An extension of this authenticity and quasi-documentary style is reflected in the films camerawork;
perhaps the most notable trait of which is its ability to make the viewer feel as if he is inside the
favela, living its reality. Immersive close-up shots (notably displayed in the opening scene) are
contrasted with voyeuristic angles (utilized when Neguinho is beaten for killing his girlfriend inside
the favela, as well as when Buscap photographs the corrupt policeman at the end) and are all cut
together at a constantly rapid speed which allows the audience almost no time to reflect upon the
events on screen, hence further involving them in the films reality.
This abrupt style of editing, along with the narratives aggressive pace, is also a symbolic
representation of violence in the favela, which in turn renders violence all the more powerful
(Nagib, Talking Bullets, 2004, p. 245). However, it can be argued that the excess of violence
(Marcato, 2009, p. 84) throughout is intended merely as a means to shock an uninformed international
audience without accurately portraying reality, and that the occurrence of easily identifiable
archetypes of the Hollywood Gangster genre throughout Cidade de Deus distance it from the ideals
of the Aesthetics of Hunger.
For example, the narratives focus on Z Pequenos slow ascent to power, followed by his rapid
downfall, is reminiscent of classic gangster films such as Public Enemy (1931) and Scarface (1932)
(Heredero & Santamarina, 1996, p. 157). This characters shockingly gratuitous violence and
complete lack of remorse is also used by critics to demonstrate Cidade de Deuss resemblance to the
Gangster genre, and consequently its detachment from reality.
There are two particularly shocking demonstrations of violence, both of which are intentionally
exacerbated by the use of children. Firstly, we are shown Dadinhos thirst for violence in the scene in
which he kills countless innocent strangers in a hotel. Here, the camera accompanies him with a closeup shot of him laughing to himself whilst firing shots. Later in the film the same character, now
known as Z Pequeno, forces a child to kill one of two young boys in order to stop others from
stealing food from shops inside the favela. Once again, the camera focuses on the faces of all three
children for long periods of time, which paralyses the audience and this causes them to believe in the
authenticity of the story (Marcato, 2009, p. 92). Traits of the Gangster genre are also evidenced by
the characters of Ben and Cabelereira, both of whom offer the audience a contrast to Z Pequenos
persona by seeking redemption from the life of crime through their love of Anglica and Berenice
respectively, only to ultimately fall victim to death at the hands of the police or a rival gang member
(Vidal & Capilla, 2007, p. 279).
However, whilst it is true that numerous parallels can be drawn between Cidade de Deus and the
Gangster genre, the utilization of violence is in fact a calculated and intentional device which serves
to effectively draw an international audiences attention to Brazils reality, and thus still adheres to the
Aesthetics of Hunger. This is especially true when particular attention is paid to Rochas (1965)
assertion that only when the coloniser is confronted with violence can he understand, through horror,
the strength of the culture he exploits. Furthermore, in an interview with (Gonzalez, 2003) Meirelles
himself distanced Cidade de Deus from the Gangster genre, stating that it does not glamorize violence
and that the audience does not want to be part of these gangs. Theres a certain morality there. Every
time I had an opportunity to show violence I tried to avoid showing it on purpose. In fact, given that
Cinema Novo reveals that violence is normal behaviour for the starving (Rocha, 1965), violence is
integral to both Cidade de Deus and the Aesthetics of Hunger, and the similarities with the Gangster
genre only help to make the otherwise unapproachable subject matter more accessible to a wider
international audience.
This consideration for a wider audience is also demonstrated by the films avoidance of gory violence
in favour of implied violence which, as shown above, also translates into films own artistic form
through camerawork and editing. Perhaps the most notable example of this implied violence is
Parabas murder of his wife, in which the audience only sees his raised weapon. As a result,

Buscaps narrative explains the implied violence and renders Cidade de Deus (and consequently its
portrayal of realism) more accessible to a wider audience who would otherwise be deterred by more
explicit images. Violence can thus be defined as a motif through which Cidade de Deus portrays
reality in accordance with the Aesthetics of Hunger. However, violence is also utilized as a means of
portraying the vicious cycle of sheer hopelessness caused by drug crime and poverty that plagues the
favela. This is demonstrated particularly in the sub-plot of Man Galinha, who despite initially
representing hope through having rejected the life of crime, eventually succumbs to the inevitability
of violence in order to avenge Z Pequenos rape of his girlfriend. As Buscap points out, in the
Cidade de Deus, if you run away, they get you, and if you stay, they get you too. Meirelles reinforces
this point in his interview with (Gonzalez, 2003) in which he states that for the drug dealers, theres
no hope. Theres no way out for them and, in the end, they all die.
The films theme of hopelessness is also evidenced by its often ironic choice of music which,
similarly to the films use of violence, shocks the viewer and condemns the lack of interest that the
rest of the world holds for the plight of those living inside the Cidade de Deus. This is especially
apparent in the example of a flashback to the 1960s, where the song Alvorada by Cartola plays the
lyrics: Ningum chora / No h tristeza / Ningum sente dissabor whilst at the same time Buscap
narrates: After the hold-up, there were constant police raids in the ghetto. Every day, someone went
to jail, someone was nailed. But no one had seen anything. No one knew anything.
All of the above suggests therefore, that despite demonstrating some superficial divergence from the
films of Cinema Novo, Cidade de Deus should be regarded as a progressive evolution of Brazils
historic 1960s movement, the aim of which is to adapt the Aesthetics of Hunger to a wider
international audience. Techniques traditionally employed in Cinema Novo such as the use of
untrained actors, filming on location and in a documentary style, are fused with more modern ones
such as emotional attachment through first person narrative and the borrowing of archetypes from
genres which are relatable to a wide viewership, so as to ultimately provide a source of social debate
by demonstrating to them the reality of a world far distant from their own.

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