City of God Film Analysis: Poverty Theme


The film was coordinated by Fernando Meirelles, who recounts life in ghettos of Rio de Janeiro. There are different scenarios that make up the wide story and are presented in a complete form in on-screen titles for all components of the Pulp Fiction style chapters. The story depicts a young fellow who battles to make something out of his life instead of winding up another victim of drugs and the gang wars. The film was created in a territory known as Cidade De Deus (the City of God). The two characters presented in the film include Rocket, who dreams of becoming a photographer and the other boy dreaming of becoming a drug-dealer (Meirelles & Lund, 2002). They live in a poverty stricken slum named Rio de Janeiro, where people don’t live up to 30 years of Age. Drug dealers are the king, whereby, the unfazed take a gander at group life as offered in the City of God towards completing Favela out decades. This paper presents an argumentative essay on the film of God using poverty as the main theme.

Poverty Depiction

The Odds are highly stacked to a person born in a poor and isolated community regarding social, economic and racial factors. It takes a lot of effort, struggle and strength for a person of such an origin to avoid becoming a gangster. It might be hard for the person to engage in good moral activities in the society as poverty is driving him to take the wrong direction. Only rare people rising from such situations succeed while the rest tend to perish in bad activities. In the Rio slum also called Cidade de Deus many characters have the right ideas, knowledge of implementing them and courage packed hearts (Beed & Beed, 2013). However, it is not easy for such characters to succeed in their enormous attempts of helping their society and eradicating poverty. They find it hard to get far regarding academic and social life as they always end up pulled back into the vicious circle. The theme of poverty in this film is evident where images of gun-toting pre-teen killers have the opportunity to use them in killing to get a living due to the high poverty level depicted in their community. The guns used underscores how miserable and startling foreordained life is for these children living in the slum.

The increase in poverty in the slum leads to fight inside of the Cidade De Deus and other two unique gatherings much of the time when individual and business matters lead to unavoidable, showdown (Frick, and Bopp, 2005). The after effects of these occasions are capable recounting life-based around genuine occasions occurring over the world. Martin Scorses, affects the heading of the photo the same number of minutes looks well known to the fabulous American movie producer. The film is very interesting as one can never avoid watching a scene and thinking what it all meant.  The story of the film revolves around the underlying ideas of gangsters, drugs and violence, which are told in terms of narratives. Such cases depict poverty which has contributed to their existence (Kokaz, 2007). However, the aspect of thinking so much about the results of poverty level makes a person look less favourable in the film direction. Such an act can be criticised and considered a Brazilian Goodfellas due to the parallels depicted from the story. The aspect of the environment in which the character resides, brings out the feeling of sympathy towards them. Cidade de Deus deals with dozens and is regarded as a minority that one gets attached to (Konvalinka, 2010). The focus that the movie has on favela proves that live there is terrifying and more vibrant due to the high poverty levels evident there. The police, in this case, are corrupt, and opportunities are very scarce due to high poverty levels. Poverty has also made crime every rampant in the society and many youths believe that they have no other alternative apart from being a gangster.

Cidade de Deus is bound to be much of the directorial assault on most of its senses as saying that says “on the off chance that you don’t have a story you have thoroughly nothing”. The direction taken by the film is not for the sake of disguising the story flaws, but to bring out the aspect of poverty in the society. Cidade de Deus is termed as a character, even though it is not a person but a place. An aspect like this is used to bring closer the relationship between the audience and characters and better understand the poverty aspect of the film (Sachs et al., 2004). The gang violence evident in the City of God film proves poverty to be oversimplified and more complex to handle. Due to the high poverty level, many children don’t know how to read and write as they can’t afford education, but they know step by step instructions to utilize a firearm and execute contritely. Their parents don’t have money to finance their education, thus contributing to them engaging in gang lifestyle. The narrow and vicious mind possessed by many slum people in the film depicts their poverty level. The film painfully illustrates numerous poverty privations in many people. The poor living standards of the slum residents lie more in their poor social behaviour and not just in diminished resources. Some Brazilian youths live in troubled exploits whereby; the dizzying morass proves that poverty is a bother to them.

The City of God film brings out the aspect of slums in a way that it compels the viewers to confront poverty, and desperation of the lives in the area (Williams, 2014). The films make the viewer’s to enter the nightmarish world evident in the movie during the duration they are watching it, to extend they can’t forget it at any cost. The movie ends in times when slum is a war zone, and most protagonists are engaged in bloody war or even dead.

Cidade de Deus is a legitimate and the potentially important medium of representation that uses both instrumentaly and intrinsically view. On the other side, Cidade de Deus present’s a most brilliant cinema, and its completion is not as crude and bleeding the same number of they will anticipate. The last impact left by the film ensures that the audience does not leave with the same inquisitiveness about the future of the two boys in the poverty stricken slum. Despite the violence that rests high in the poor society, blood spilling is rarely seen (Frick, & Bopp, 2005). There is violence in the slums, but it doesn’t always exist on choreography. One of the youths acquired a camera from his drug-dealing pal and later acquired another one from Li’IZe’ whereby he used them to take gang photographs, which later earned him a very reputable internship in a newspaper. Such a case proves that poverty is not always bad, but in some instances, it can help one to rise from ashes to the sky.  The violence looks so beautiful rather than deterring citizens in the area. The violence is admirable in a cinematic perspective, and some people will want to view it. One will evaluate this film as superb, due to its achievement of having been classified as the best film of the year and the decade to thus far. Cidade de Deus is one of the most recent movies to leave South America demonstrating the development of major new ability in film-production. Despite the disregard to criminal acts, some youths benefit from the criminality of their peers.


Due to the high poverty level, many children don’t know how to read and write as they can’t afford education, but they know how to utilize a weapon and execute it remorsefully. If the slum people had more options in life, they could not kill, and poverty could not be an issue in their lives anymore.  This paper presents an argumentative essay on the film of God using the depiction of poverty as the main theme.



Beed, C., & Beed, C. (2013). Recent Christian interpretations of material poverty and inequality in the developed world. Journal of Markets and Morality, 16(2)

Frick, K., & Bopp, A. (2005). Poverty: Insurance theory and the medically uninsured. Atlantic Economic Journal, 33(4), 451-459

Kokaz, N. (2007). Poverty and global justice. Ethics & International Affairs, 21(3), 317-336,275

Konvalinka, W. L. (2010). More than a poor lawyer: A study in poverty law*. Texas Law Review, 89(2), 449-475

Meirelles, F & Lund, K. (2002). City of God. Retrieved from on 29th February 2016

Sachs, J. D., McArthur, J. W., Schmidt-Traub, G., Kruk, M., & al, e. (2004). Ending Africa’s poverty Trap/Comments and discussion. Brookings Papers on Economic Activity, (1), 117-240

Williams, R. J. (2014). Storming the citadels of poverty: Family planning under the emergency in India, 1975-1977. The Journal of Asian Studies, 73(2), 471-492

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