City of God: The Fight Rages On, the new spinoff series from HBO Latino and Max, revisits the world of the critically acclaimed 2002 film City of God. Directed by Fernando Meirelles and Kátia Lund, the original movie received widespread praise, landing on numerous Top 10 lists and earning four Oscar nominations.
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| 'City of God: The Fight Rages On' Courtesy of HBO |
However, the film also faced criticism for allegedly exploiting poverty and crime in the Brazilian favelas without delving deeper into the underlying issues.
The series follows Wilson (Alexandre Rodrigues), who was a central character in the film. Having grown up in the violent, poverty-stricken suburbs of Rio de Janeiro, Wilson witnessed the deaths of many friends and rivals during the movie's escalating conflicts. However, he found his way out of the chaos through his camera, eventually becoming one of Brazil's most prominent photojournalists.
Despite his success, Wilson is increasingly disillusioned, grappling with the fact that much of his fame stems from documenting images of death and violence. This duality—the tension between success and the ethical dilemmas of profiting from others' suffering—lies at the heart of the series, reflecting the ongoing struggles of life in the favelas.
In City of God: The Fight Rages On, Wilson's (known as "Rocket") struggle to reconcile his success with his community’s suffering deepens when his estranged daughter Leka (played by Luellem de Castro) bluntly confronts him.
A rapper with bold, provocative lyrics and a defiant image, Leka expresses her disdain for Rocket’s career. She accuses him of commodifying the suffering of his people for a privileged audience, turning their pain into entertainment for "whiteys" who watch from the comfort of their lives, untouched by the harsh realities Rocket captures through his lens.
This confrontation forces Rocket to reexamine his role as a photojournalist. The question remains: can he redeem himself and truly support his community? Through the first two episodes, it’s unclear if Rocket will manage to fulfill his vow to do better by his people.
The series, while engaging at times, seems more focused on addressing the legacy of the original City of God film than on reflecting the realities of present-day Brazil. This preoccupation with revisiting past criticisms, rather than pushing the narrative forward, keeps the show rooted in its predecessor's world.
The character of Rocket, still central to the story, embodies the show's core frustration. While he was the protagonist of the original film, his character lacked the vibrancy of the more memorable figures who were tragically killed or played by breakout stars like Alice Braga—who does not return for the spinoff.
So far, City of God: The Fight Rages On feels like a reflective continuation rather than a bold, forward-looking evolution of the story.
The initial episodes of City of God: The Fight Rages On focus heavily on reestablishing Wilson's character and setting up his guilt-ridden redemption arc. Unfortunately, Wilson, now a famous photojournalist haunted by his past, doesn’t bring the same dynamism needed to anchor the story. As an observer of the community rather than an active participant, he needs more compelling characters around him to drive the narrative forward.
The show attempts to reintegrate figures from the original City of God, such as Barbantinho, who is now pursuing a political career; Berenice, who has returned to run a samba school; Cinthia, now leading the neighborhood association; and Bradock, now a dangerous criminal. While these callbacks might appeal to fans of the original film, they often come across as mere nostalgic references rather than fresh, engaging elements.
The storytelling is characterized by a lot of backward-looking, Scorsese-style introductions and flashbacks that digress from the main plot. Instead of pushing forward with new, compelling developments, the series spends significant time revisiting past characters and storylines.
This approach may cater to nostalgia but risks bogging down the narrative with unnecessary details and connections that don’t enhance the current story. The connections to previous spinoffs like City of Men are not addressed, adding to the sense of fragmented storytelling.
In City of God: The Fight Rages On, the new characters like Jerusa, PQD, and Lígia bring a fresh and dynamic energy to the series, overshadowing the less compelling returning figures. Jerusa, portrayed by Andréia Horta, stands out with her complex role akin to a Lady Macbeth, driving Bradock to challenge Curió. PQD and Lígia also contribute significantly, offering layers of intrigue and conflict.
The show eventually centers on a turf war in the Rio slum, reflecting Wilson’s shifting loyalties and the corruption entangling law enforcement and politicians. This core conflict provides some engaging drama, though it often feels bogged down by the necessary exposition and a desire to balance critique with action.
Despite the intense action and high-stakes sequences in the favela, The Fight Rages On struggles to capture the unique, visceral aesthetic of the original film. While the movie was noted for its gritty, immersive style—akin to The 400 Blows, The Battle of Algiers, and Pixote—the series falls short in replicating that textured atmosphere. The film’s powerful sound design, vivid marketplaces, and palpable heat are missing, making the new series feel less immediate and impactful.
City of God: The Fight Rages On suffers from a flat, glossy presentation that lacks the documentary-style intensity of the original film. Its reliance on constant flashbacks and derivative storytelling results in a series that feels like several TV shows rolled into one, lacking the raw edge that made its predecessor compelling.
The series echoes the same BOPE police unit featured in Padilha’s Elite Squad and resembles a Brazilian version of Narcos. This results in a series that feels like a copy of a copy, reducing its originality and impact.
Despite these issues, the series shows potential, particularly with strong performances from Andréia Horta, Thiago Martins, and Luellem de Castro. There’s hope that Wilson’s character development and the ongoing narrative could provide more depth as the series progresses.