“City…“City of Men” Directed by Paulo Morelli Starring: Douglas Silva, Darlan Cunha, Jonathan Haagensen

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Fans of “City of God” will be pleased: The same production team has brought another brilliant film, “City of Men,” to theaters. “City of Men” is different than “City of God,” yet still takes place in the same movie universe.

The continuity between “City of God” and the new, lighter-hearted “City of Men” consists of a string that has been hidden from American culture: “City of Men,” the television series.

Before groaning that TV-to-film movies usually disappoint, you should know that the show ended, and the film is the closing chapter of the storyline, barring possible sequels. So the ending is not, in fact, an elaborate cop-out designed to keep you watching the show.

Fans of the previous film will also be pleased to hear that “City of Men” does not depend on the viewer having watched the TV series, and in fact the viewer may remain blissfully unaware of the series ever having existed while watching the film.

“City of Men” has the same characters and setting of the series but only shares the setting of Rio favelas, or slums, with “City of God.” In fact, it would be a fascinating theory question to investigate whether you could even call “Men” a true sequel. The story revolves around two best friends, Acerola and Laranjinha. Both are charismatic and good-hearted teenagers edging into adulthood, and the movie follows their struggles through the bloody gang wars of the favelas and their bleak searches for their fathers. Forces threaten to tear them apart, and this keeps viewers attached and actively wondering who will survive.

This pairs “Men” with “God” precisely. If you took note while watching “City of God,” parents were an almost absent and detached force in the development of the rival gangs and the villains or heroes who made them.

“City of Men” examines the fathers of Acerola (Douglas Silva) and Laranjinha (Darlan Cunha). What happened to them, and how could they leave their sons behind in such squalid conditions? Avoiding this question, the two youths are more excited than angry – even the fact that Laranjinha learns that his father is in prison doesn’t hinder his enthusiastic search.

While Acerola raises his son Wallace and struggles to keep his marriage intact, Laranjinha focuses on romancing his girlfriend. Both situations are thrown into doubt when the neighborhood changes hands between dueling drug lords, ultimately asking both Ace and Laranjinha to decide their perilous loyalties.

Both Silva and Cunha offer excellent performances. Ace’s transition from carefree to deeply troubled is matched by Laranjinha’s change from a stoically independent almost-orphan to an ecstatic child reunited to his father. Together they evoke emotions that cross the language barrier and settle in your mind even after you’ve left the theater.

When acting doesn’t take the forefront, silences are effectively paired with angles and camera movements to let you know what’s going on. This is especially helpful in the chaotic, meandering slum streets: Even viewers who have no experience with the squalor of the favela will feel a part of it.

“City of Men” also heralds the return of bold brilliant colors and sharp framing of the surrounding dilapidated favela. The cutting is quick and precise, refusing to let viewers get too comfortable with any one scene.

What is left is a fascinating journey towards adulthood for two close friends who long for something better for the next generation. “City of Men” takes what was good and gives a fresh experience that anyone who has had issues with entering adulthood will appreciate.