The various filmmaking techniques used throughout City of God are so dominant that the entire film has a certain style that feels like imitation of something that cannot be real, but in actuality the events seen are based on a real story. The real lives of a group of teens trying to survive in the slums of Rio aka City of God, which was an isolated area know as a Favella (or projects) which is one of the most dangerous areas in all of Brazil.The films protagonist (Rocket) is a self-proclaimed ‘gangster’ but, also a photographer,and one could argue that the entire film is seen through his worldview in the film. The irony of this aspect leads to the our understanding that, Rocket (being a photographer) is actually too sensitive to fully be a gangster. The elements of photography help us, the viewer realize his sensitivity through his photography. It isn’t until the last act that his talent becomes a major plot-point in the story,when Rocket is able to escape from the City of God by pure accident. The police corruption and gang activity is brought to life through, Rockets photo-journalism and ultimately revealed through mainstream media outlets that bring justice to light .The elements of photography and mise-en-scene within each frame not only add a significant style approach to the overall look of the film but also add more depth through imagery to the story’s overall theme. The poverty stricken back-drop of Rio is brought to light through the Academy-Award winning cinematography which uses techniques of color change-from the dark brightness of the slum to the dusty sunny browns of soccer fields.The cinematography is what really pushed the envelope in this film. The majority of the sequences were built out of extremely short shots with numerous cuts and close-ups as the camera was constantly moving giving the viewer and up-close and personal look inside of this violent world The camerawork keeps the story fully vibrant and visually alive. This usage of light also symbolizes how these kids are victims to the dangers of gang activity in different settings such as slums and even soccer fields, but how other ares around Rio are less dangerous, such as the beautiful beaches and upper-class areas. The most interesting element of style pertaining to this film is that of the soundtrack which covers three decades of era-specific music. An eclectic borage of tracks dating back to the 1960s up the 1980s. These tracks hold an emotionally relevant and complementary tone to various scenes and are culturally specific to each decade portrayed in the film. Perhaps in the only way the subject matter could be watchable, the music pushes us rapidly from scene-to-scene.The other aspects of style in this film is undoubtedly the script. The script is not only written in a non-linear format, but it also covers three generations of community and friendship. To pull this off in two and half hours in quite a feat. The editing elements use a mix of flashbacks and pacing keep the story moving along in a cohesive manner even through a complicated story covering three decades. The way in which the flashbacks frame plot-points help the viewer understand character development and repercussions of cause and effect. The screenwriter, Braulio Mantovani and original author (book) Paulo Lin actually had go into a Brazilian prison and ask the permission of the actual characters portrayed in the film if they could make it into a movie before beginning the project. Apparently the actual characters said they would give them their blessings if they would only promise to ‘not make a Hollywood film’ .The evidence of authenticity in the making of this film is extremely apparent. The way in which the script as stylistically structured in the un-conventional realm is a major part in what makes this film a masterpiece.