Review: Fernanda Torres pulls off a miracle of maternal courage in ‘I’m Still Here’
As I stand on my balcony overlooking the vibrant beach of Rio de Janeiro, Brazil, the tantalizing aroma of a nearly ready soufflé wafts across the street from the Paiva household. Inside their breezy rooms, you’d never know that outside, a harsh military dictatorship grips the country. Instead, the air is filled with laughter and the joyous spirit of Brazil.
In “I’m Still Here,” Walter Salles, famous for movies like “Central Station” and “The Motorcycle Diaries,” initially portrays the lively family at their happiest before a tragic event occurs, making the emotional impact all the more powerful in this inspiring drama that primarily takes place in 1971. The story is based on Marcelo Paiva’s 2015 memoir and tells of a crucial period in Brazil’s history, skillfully encapsulating it into a poignant depiction of community resilience. This film could be a strong contender for the upcoming International Feature Oscar.
Previously acclaimed for a stunning, understated performance that unexpectedly earned her a Golden Globe award (the first Brazilian actress to achieve this honor), Fernanda Torres takes on the role of Eunice Paiva, a mother of five who is married to ex-Congressman Rubens Paiva (Selton Mello). The apprehension simmering on her face hints at looming peril as helicopters patrol the city and reports of kidnapped ambassadors fill the airwaves.
Awards
During authoritarian periods in Brazil, Fernanda Torres spent her childhood years. She drew on these memories when playing her role in ‘I’m Still Here.’ (In a more conversational style: Growing up during an authoritarian rule in Brazil, Fernanda Torres found herself relying on those experiences for her acting in the movie ‘I’m Still Here.’)
Inside the Paiva family’s home (where the movie was filmed), director Salles and his ensemble cast, a mix of veterans and newcomers, establish a lively, authentic atmosphere brimming with affection and uninhibited freedom. So engrossed are we in their joyous energy, that when the shadows encroach upon them – manifesting as henchmen who apprehend Rubens for questioning – the transformation from who they were to who they must become is strikingly apparent.
At that stage, Mello effectively instills a heartfelt paternal warmth that his family will deeply yearn for in his absence. Consequently, these memories become the focal point of “I’m Still Here.” The storyline is punctuated with home videos captured on an 8mm camera, capturing genuine moments of relaxation and affection, moments of true importance. These instances are etched deeply into the minds of the Paivas, and they are now forever preserved in still images, in Marcelo Paiva’s writing, and onscreen through Salles’ cinematic portrayal.
Adrian Teijido, both director and cinematographer, transform the home into a dynamic co-actor that symbolizes Brazil in its entirety. Initially open and welcoming, the house turns closed and stifling as curtains are drawn to conceal the intruders who threaten this peaceful sanctuary. These intruders, representing the dictatorship, sow fear and mistrust to preserve their rule. Salles expresses the official distress through depicting the disrupted daily routines of the family.
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On Fridays, columnist Glenn Whipp from the Los Angeles Times examines the potential nominees for the Lead Actress category and the shortlisted candidates, as featured in his newsletter.
Eunice responds to these rough characters by inviting them for a meal – perhaps to bring an end to their troubles more swiftly, but also as a reflection of her character even towards those who may cause her harm. Later, she and one of her daughters are arrested and questioned, then freed. These understated aspects of Eunice’s vivid personality emerge from Marcelo Paiva’s personal recollections about his mother and the experiences of the Paivas family following Rubens’ disappearance, beautifully translated to the screen by writers Murilo Hauser and Heitor Lorega.
Torres portrays the quiet resilience of a woman who refuses to succumb to despair despite the passing days and weeks. In this challenging situation, she has to care for her children and pursue justice for her potentially living husband. With remarkable control, Torres makes Eunice’s occasional outbursts seem authentic and contained. Her performance is a poignant depiction of hidden sorrow.
Despite her quiet grief, Eunice compassionately cares for those around her, recognizing their anxieties and the boundaries of what they can offer her. With a modest determination, she navigates life without fear, focusing on what must be accomplished rather than lamenting over what might have been. At each juncture, we observe her efforts to shield her children from her burden. In a rigidly authoritative world, she can conceal so much of her pain.
Awards
In ‘I’m Still Here,’ Director Walter Salles held connections with the political clan, showcasing a narrative that mirrors the shared odyssey of an entire nation.
In the face of devastating news, I somehow manage to muster a smile for my youngest daughter and gather the strength to take us all out for ice cream, hoping to rekindle even a fraction of our past happiness. This blend of resilience and fortitude during adversity is essential to portraying Eunice’s inner strength, as depicted by Torres. And it’s when grief momentarily overpowers her, in the form of tearful eyes or a heavy silence, that Torres’ performance strikes a profound emotional chord.
As a cinema enthusiast, I can’t help but admire the understated brilliance of Torres’ performance in “I’m Still Here.” It’s a talent that doesn’t often receive its due, but it leaves an indelible impact on anyone who witnesses it. Remarkably, this film surfaced during the restrictive presidency of Jair Bolsonaro and has been warmly welcomed not just at home but globally (it’s Brazil’s highest-grossing movie since the pandemic). This is a clear indication of Salles’ confident directing touch, skillfully navigating the complex subject matter with the gravity it demands while focusing on the human element rather than the brutality. The film’s visuals exhibit a striking elegance, drawing us nearer to the people and their stories, not towards the horrors they endure.
When a photographer requests that the family adopt a solemn expression for a photo related to an article on Rubens’ disappearance, Eunice declines, instead encouraging her kids to flash big smiles. Despite the ominous forces trying to make their “adversaries” suffer, Joy stands firm in defiance. Eunice’s triumph, observed by Marcelo Paiva and brought back to life by Torres (and for a moment, Brazilian icon Fernanda Montenegro, who is Torres’ Oscar-nominated mother), goes beyond mere survival; it’s about creating a family bonded through hardship.
Living life to its fullest serves as a testament against adversity. Each joyous moment spent together – every shared laughter, every cherished memory, and every captured family memory – is a tribute paid to those who are absent in body.
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2025-01-18 02:01