City of God & La Haine - Exam question

'The stylistic choices made by filmmakers define not just the look but also the meaning of the film'

How far is this true of the films you have studied for this topic?

Both City of God and La Haine employ stylistic choices that hugely effect the film's aesthetics. As well as this, however, these stylistic choices also effect the meaning of the films, with differing results. 

La Haine is shown completely in black and white, despite being filmed in the 1990s. We therefore know that the use of black and white was not necessary or conventional; it was a conscious decision made by director Mathieu Kassovitz in order to root La Haine in the bracket of social realism and provide one of the first instances of a realist framework. This is further enhanced by the slow, often tracking camera work used throughout the film, which makes us feel like we are genuinely following the trio over the course of the 19 hours the film is set around.

City of God is quite the opposite in this aspect. Director Fernando Meirelles uses fast paced editing and slick camera work to enhance the audience's understanding of the fast paced nature of the favellas, whilst a hugely colourful palette alludes to the stereotypical representations of Brazil through Samba, football, beaches and tourism. 

Already, there is a huge contrast between the two films just due to these stylistic choices alone. On the surface, City of God appears as less gritty than La Haine as its colouful and slick person is a lot more cosmetic than the stripped down, bare look that La Haine achieves.

Ideologically, both films are based upon real events which take the forefront of both narratives. It is certainly fair to say that the stylistic choices have had an effect on the meaning of the films, but once again in different ways.

The simplicity of La Haine makes the audience feel like they are watching a documentary, something reinforced by the narrative elements such as the intermittent clocks. The meaning that Kassovitz wanted to portray is aided by this overwhelming simplicity as it is allowed to be presented without having to 'fight' with the aesthetic of the film in order to be noticed. 

City of God does not have the same success. Its overwhelmingly aesthetic nature detracts from the actual meaning of the film; as an audience we do not fully understand that this is meant to be a comment upon a real event, until the very end when we are reminded. The stylistic choices combine with the unconventional narrative to make a film that merely feels like an action/crime film and not one with a real meaning.