City of God DVD finally in stores in NA

[Keith Loh]

A year after it was made available in the UK, "City of God" the movie that could have won best picture if it had been released correctly two years ago is finally in stores in North America.

This is hands down one of the most exciting pieces of filmmaking I've seen in the past five years. Vibrant, entertaining, wonderful film. Even though it was released in 2003 in most places, Miramax held it back for awards consideration for 2004 when it was invalidated for the Foreign Oscar and when its principals had the misfortune of going up against The Lord of the Rings capper.

If you are at all interested in filmmaking and storytelling in a street style, this film has so much to show you. It's hip, full of energy, full of dynamic direction. The director Fernando Mereilles is a veteran of Brazilian commercials and shorts and he fills this movie with verve, plenty of style.

[Emre Safak]

I love this movie so much I acquired a bootleg last summer, requested one for my library, then ordered it for myself (just last night, as it happens.) The editing and cinematography are great.

Apparently the co-director, Katia Lund, is a bit miffed about not getting any credit: http://tinyurl.com/29zq4

You might like to watch a movie that served as an inspiration: http://www.imdb.com/title/tt0082912/

[Keith Loh]

I debated Katia Lund's issue back before the Oscars.

Unfortunately, the Oscar does not recognize a co-director in the way that co-directors are staffed in Brazil. So she lucked out. I don't believe that someone who just works with actors does all that is required for a director. A director must also plan shots and determine the visual narrative for the movie.

[Wayne Orr]

Very interesting article, and thanks to Emre for the link. I don't know, but if Fernando Meirelles agreed to a co-directing credit for Katia Lund before production, and if she was refered to as the co-director, and the credits listed her as the co-director, it seems she deserves more than a handshake and a "don't let the door hit you in the ass on the way out."

In 2000, I shot the live production of "Fail Safe," for CBS, and there were two directors; Stephan Frears and Martin Pasetta. Now I hope you know who Stephan Frears is, but you probably have never heard of Martin Pasetta. He was the director of the broadcast, sitting in the booth and calling the shots, which he had worked out, often with input from Stephan, who had no experience directing a live tv broadcast, and would have been SOL trying to do same. So, you have a co-director situation, where one has primary responsibility for the actors, and one for the mechanics of the live broadcast. This does not mean they don't talk to each other, or ignore each other's suggestions. And certainly, there was a certain level of deferral to Stephan on most matters. In the credits, Frears was listed as "Director," and Pasetta as "Live Broadcast Director." And that's the way they are listed in the Emmy Awards, where they were nominated together in the "Best Director" category. (They didn't win.) But if you look in IMDb, you will only see "Stephan Frears, Director." As far as they are concerned, Martin Pasetta doesn't exist.

Point being, in the case of "Fail Safe," there was an amiable way to work out the credit situation, arrived at before production, that was carried through to the Awards process.

In "City of God," despite having an agreement for a "co-directing" credit, Ms. Lund was eliminated by the Motion Picture Academy, and had no serious support from the producers, or her "co-director." Sounds like another example of a woman getting screwed by the "good-ol-boys" network. But it appears Ms. Lund will be getting the additional work she deserves, and hopefully we will see more great filmmaking from these two very talented individuals.

Wayne Orr, SOC

[Mike Moncrief]

Hello,

Finally got a chance to see this movie.. Very good, but very jolting.. To see the people living such a violent and dangerous lifestyle... Wow, do i ever have it made.. Anyway I thought it was a very progressive style.. And man the editing had to be difficult as there seems like there are thousands of cuts of film.. I can only imagine trying to organize and even conceptulize a piece like this.. Most average moviewatchers who watch this, probably have no idea of the amount of work it took to put something like this together..
Anyway I liked it..

Mike M.

[Keith Loh]

The thing, is there are so many cuts and so many characters but the editing is such that you know who is who and what is going on even though there are multiple storylines. I saw "Chronicles of Riddick" today and while it is usually the crap that I like, I was bewildered by the continuity jumps that they made. Insensible.

[Darrell Hinton]

I just saw this film yesterday and absolutely loved it. It is definitely one of the best films I have ever seen. The story was just so deep and captivating. But I have a question that probably belongs in the editing forum but I thought I'd ask it here since most people participating in this thread have probably already seen the film (...and would be more likely to understand my question). In the scene where Rocket is introducing the Trio, the frame freezes on a wide shot of all three boys of the trio. Then the camera moves to closeups of each of the boys in the frame while he is introducing them. I am having a hard time putting this technique into words but those of you who have seen it probably understand what I am trying to describe. Anyone know how this was done?