City Of God opening analysis

City Of God conveys the themes of chaos and anarchy in the favella to the audience through cinematography, mise-en-scene, sound and editing. This shown in the opening scene where the gang is chasing after the chicken. For example, the first thing we see in the film is a knife being sharpened against a stone. Knives are typically dangerous objects and because it is being sharpened against a stone, it depicts somewhat of a barbaric lifestyle: this is foreshadowing the barbaric lifestyle Lil Z leads and by proxy, enforces upon his gang. This immediately creates tension and makes the audience unsure of the characters. The tension is reinforced through the editing, with the almost whiplash inducing, flashing cuts between the knife and the black screen, once again creating a sense of urgency. 

Furthermore this shown when the scene reveals itself to be a cookout with the gang. Normally a cookout would be a scene that is fun, calm and familiar; but this subverted through the tight camera angles and sharp cuts. The scene is cutting back and forth between different shots (the carrot, the chicken, the gang) with close ups on each making the shots feel intrusive and suffocating. This represents the unavoidable chaos of this setting and is foreshadowing of how innocent bystanders become a part of the conflict whether they like it or not. This is also displayed through the camera movement: the camera rarely ever keeps still in the opening, it zooms in and out, pans and follows the action in the shots rather than letting the camera cut more than it has to. It gives the scene a good pace without feeling bloated and over edited.

Another element to add is the sound: the scene is scored with Brazilian string instruments and drums, not only demonstrating their culture to a foreign audience but also builds tension: the drums in the scene get louder and louder as the scene goes on, almost as if its building towards something and creates a sense of suspense. This is supported by the constant chatter of the crowd, which underneath the music and the sounds being inaudible create a further sense of chaos. This is however halted briefly when the chicken escapes: we have aligned with this chicken the entire scene through a collection of close ups in the madness and being the only chicken to escape it, therefore the audience empathises with it. The chicken however is not just a chicken: its a metaphor for escape. Chicken is seen as a lot weaker than humans and definitely Lil Z's gang, and his gang being the avatars of anarchy the city produces, the chicken may represent the innocent attempting to flee from it.

The cinematography and mise-en-scene also showcases the dystopia of the city when the chicken is being chased. For example, through out the opening, the scene is shot with cold lighting and a blue filter. This connotes the feeling of sadness and helplessness; the helplessness the city produces through its chaos and corruption. Shooting the city in this lighting fully visualises the city as despotic and dystopian. The entrapment the city creates is also showed depicted in the streets of the city. In particular, the first shot that showcases the gang chasing the chicken is a high angle. This shot makes everyone seem tiny and unrecognisable, which is a big contrast to the imposing, never ending buildings looming over them. This technique is continued in the cluttered, claustrophobic streets, as the director deliberately leaves the top of the houses out of shot, depicting them as cyclical in length. This could be metaphoric of how the city and the filth it produces is bigger than the gangs themselves, almost as if the city is an omnipotent figure watching over its city (City Of God).

Throughout the chase the previously elements of frantic and manic energy return. The chicken is filmed with a rapid tracking movement with a shot reverse shot of the gang and the swift cuts in between, adding to  more of the aggressive nature of the gangs. On the other hand a particular feature of this scene adds to the idea of entrapment and that is the sky. Through the entire scene we never see the sky and this is because the sky represents freedom. The clear and wideness of it embodies being free and away from your problems. But in the City of God, there is always problems, there is always danger and you are never clear or free from it. So excluding the sky from the scene furthermore adds to the idea of imprisonment the city depicts to the audience.

However, in the end of the opening this is all juxtaposed when it flashbacks to when Rocket is younger. The director attempts to creates an atmosphere just as vivid but completely the opposite to modern day. Firstly the the surroundings are more humble: the houses are small, colourful with people in their gardens doing day to day things: very different to the almost apocalyptic, lifeless grey towers. The scene is also shot with warm lighting with a brown filter, which creates a more relaxing and happy feeling. This represents how the 60s were a more innocent and simpler time in the film. This demonstrated by showing Shaggy playing football with the kids: the iconography of a young man playing football with his friends, smiling and having a good time is a clear contrast to Lil Z's cold, maniacal, gun wielding persona. This highlights how gang culture was laid back during this era and creates an ominous tone because the audience knows the darkness to come.