The tone set at the beginning of City of God clashes with two different emotions (as far as I know) at first. These two emotions are based off urgency as it stems from the drumming, stomping energy of the party, and when the chicken is trying to escape. But since we see that the chicken is trapped and ready to be cooked, the urgency shifts from wanting to be a part of the party’s welcoming liveliness and spontaneity to our hope for the chicken’s escape, especially during the ensuing chase.
The emotion behind it all was brewed through a series of quick-cuts and jump-cuts, with pinches of rising unease through close-ups of dead chicken and gleeful people and sharpened knives slicing through feathers and flesh, while the rolling drums in the background were fast and frantic. The shakiness in the camerawork helped accentuate the urgency as well, as though the cameramen were excited themselves throughout filming. With this, they also captured the grit of the location, what with all of the grime and dust, feeling somewhat more personal and even dangerous, rather than if this entire sequence were shot on a tripod and through wider angles.
This would be true if the following chase scene possessed the aforementioned camerawork, even if it attempted to be more kinetic with quick-pans and crash-zooms and tracking shots using stabilizers to minimize the shakiness. It could help the audience map out the entire location, like in Edgar Wright’s Baby Driver, but the scene prioritizes the emotion above the geography, and it was accomplished well, feeling larger than life, no matter how up close and personal it seems to be.