The final scene is important to the exploration and presentation of the film's ideolo

gical themes such as escape, urban life, and the evolving nature of its crime. In terms of his escape, Rocket starts to see light at the end of the tunnel towards the end of the film. We are positioned in a professional office setting by the use of mise-en-scene, which shows great hope for our antagonist as we have not seen before outside the area, but the cool tone Before, however the cool toned lighting that looms over the current day is still prevalent outside the city. Finally, he gets another camera from a photographer he's looking up to in relation to Rocket's escape. This can be seen as symbolism for his journey, but Rocket is not the only character to upgrade his weapon-both gangs are buying police weapons, but Lil Ze is not paying for them. And so the scene of the' beginning of the end' begins and the City Of God is turned into a war zone. We are taken back to the opening scene in the closing scene, which enforces the cyclical narrative. We see an intense close-up of the knife and a close-up of food being cooked, as the upbeat traditional Brazilian music plays. There is a shot, reverse, shot of a chicken being cooked and the close-up of the other chicken, but with fast cuts and the same low angle shots to add to the claustrophobic feeling, the video that seems to be the same as in the opening is hurried through The movie cleverly speeds through these shots as they realise that they have already been used by the viewer. When the two dichotomous symbols of the gun and the camera are intertwined, the climax starts. As Rocket takes a photo of Lil 'Ze and his gangs, we hear and see a gunshot instead of hearing a shutter button, possibly suggesting that a camera is just as much a weapon as a weapon that becomes obvious towards the end of the film. The diegetic sound of the shot of the gun is used to give this comment, Here's where the bloodshed starts. A reverse shot shot is used to show that his weapon was fired by Knockout Ned. The shots start to sound more like documentary footage from this point forward, as more hand held shots are used with a lot more camera movement. As a result, through Voiceover, we are no longer associated with Rocket, but rather immersed in the gang war tale, because Rocket is focused on catching it. He has already escaped the City of God in this way. The shoot-out is captured with a shaky movement that gives the viewer a sense of realism. In an abundance of different diegetic gun shot noise, there is an excessive use of diegetic sound; showing the degree to which the aggression has reached. As Lil 'Ze and Thiago carry the vehicle, there are shades of the Tender Trio, only a more intense version, once again engaging with the themes of aggression and urban life. Otto's narrative, which is told in combination with an eerie and intense drone note and his lines are almost reverberated or ringing for dramatic effect, is another shot that reminds us of these ideological themes. The cinematography is reasonably low saturation and slow motion is edited. It shows who Knockout Ned is to Otto—a cold-blooded murderer. Due to the element of realism introduced here this helps the viewer to see not only Ned, but all of the violent characters in a different light. The screen goes dark after this and the next shot is added with a fade. No non-diegetic or diegetic noise occurs, indicating that the shoot-out is over. The camera is held by hand and travels around all the dead bodies in order to really hone in on the subject of violence and its scale. Here the editing or shots are not stylised, and the sense of realism comes back. The emphasis is transferred to the media toward the end of the film and how powerful it can be. "This is added by the documentary-type video, and specifically claimed by the police who say Carrot to be a media gift. It is also seen by Rocket's p.o.v shots capturing police brutality as Lil' Ze pays them to let him go. This adds a layer of depth to all the mindless abuse that introduced the problem of poverty and injustice. Our protagonist must choose which photograph to use, one that will make him famous and make him money or one that will be used as a tool against that injustice. Thanks to the runts, Rocket catches his moneymaking piece. The runs slowly drift into the shot from the beginning of the shot, which is slightly zoomed in and claustrophobic, from the top of the stairs, creating a power dynamic from a high/low angle and unexpectedly all around it. After being refused a Carrot versus Ze scene, the audience realises they are actually going to be happy. Rocket catches the violent death of Ze, and prefers to use this image and take the easy road. The last scene provides closure-as Rocket walks into his future, an upbeat ornamented melody plays as the Runts drift back into the City of God-making a kill list-inferencing the cyclical nature of violence stemming from poor life in the favelas to modern life in the city, becoming increasingly violent.