City of God (ft Eduardo Magalhães III)

If you’re a child of the Brazilian slums in the 1960s, I’m sorry to be the one to tell you, but you’ve been dealt a pretty lousy hand. Growing up you can look forward to such unpleasantness as abject poverty, filth, social immobility, filth, endemic violence, police brutality, filth, and uncleanliness. If, however, you’re of a mind to transcend the lowly status into which you were thrust, your best bet is that great equalizer, that forge of infamy, that last refuge of the desperate and first port of call for the avaricious, I’m talking, of course, about crime. That’s right, kids, if someone has something you want the quickest way to get it is to insert a gun into the face of its soon-to-be previous owner and take it. That, at least, is the route taken by many of those around Rocket, a young lad living in the titular favelas of City of God, a 2002 Brazilian crime drama directed by Ferdinand Meirelles and Katia Lund and based on the book of the same name by Paulo Lins. City of God is famous for its unflinching portrait of indigency and for igniting interest in foreign films in the U.S., but more importantly, it’s Brazil’s second most important contribution to cinema, the first being its favorite sons and reviewers extraordinaire: Nathan and Elliot Magalhães. Nathan and Elliot have never actually been to Brazil, so to ensure their audience receives as authentic an experience as possible they enlisted their father Eduardo Magalhães III and former Brazilian resident to explicate the finer points of the Brazilian culture on-screen. Does triple the Magellans mean triple the fun? It definitely means triple the length so stop reading this and get the episode started already! Vamos! 

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