Hippies at Heart

• Mireille's begins the scene with a dissolve from the MCU of Lil Ze, into a zoomed in establishing shots, tilting down to the favela, golden pallet reminiscent of the 60s (repeating narrative / foreshadowing Benny's death)
• The warm golden colour palette is typically associated with the nostalgic scenes (from the 60s), making it's use here unusual being in the scenes set in the late 1970s. It is used here before the film grows darker - thematically and through the blue colour tones introduced after the death of Benny.

  This therefore creates one final romantic moment before the film turns to the worst.
• Foregrounded is the record player, using a shallow focus creating this dream like daze aesthetic that contrasts the alertness and chaos of the deep focus shots, singling out this scene as a raw moment of love.
• The shallow focus also blur their naked bodies: whilst this is an intimate scene between two lovers Lund removes the objectification replacing it with this deep sense of intimacy and romance. In doing so, Lund humanizes those involved in the drug business which the Brazilian government dehumanized from the beginning, when pulling the lower class out of the city like they were pests.
• Cinematographer Cesar Charlone uses a drifting camerawork, a haze created by the smoke from the weed they are smoking (cultural context).
• A soft insert shot of their intertwined hands connotes romance and love.
• In a structural parallel to Shaggy and Bernice, Angelica suggests to Bene to leave the favela: 'the violence sucks'. Evoking tension within the audience as the Shaggy met death when he decided to leave the favela.

  This foreshadowing correlates with Rockets line from the beginning of the film: 'but in the city of god, if you run away, they get you, and if you stay, they get you too.'
• Lund removes a sexualisation of Anjelica in this sequence, in contrast to previous ones where she has been an object of Rockets sexual desires, and instead she takes on the same active role as Bernice did in the 60s.

  But like Bernice, she is removed from the narrative immediately after Bene's death: could Lund be making a comment on how Women are secondary in the favelas. Further emphasises by Bene's death sequence is the fact that they are used to hurt members of opposite gangs, and are objects of violence.
• Soft, non-diegetic Brazilian music playing = relaxing scene.

  Hippy culture 'we really are hippies at heart' shows the cultural context of American influences on Brazilian culture.
• Whilst Lund may be attempting to portray Angelica as an active character here: Benny continues to sexualise her through his dismissal of her thoughts being beyond his sexual desires.
• This scene is key since it highlights the REALISM of the film: humanising the favela yet also revealing the impossibility of their hopes and dreams.
• The parallel between Angelica and Bernice shows the unchangeable nature of the favela: and reinstates Rockers line at the beginning.
• COG is an unforgiveable portrayal of reality.