In trying times, political films are nothing new. One of cinema’s most essential functions is to inform its audience — to share the intricacies of another culture, another time period and another perspective. The best films achieve this while simultaneously engaging the audience through riveting filmmaking, compelling performances and engaging storytelling. All the while, they present a valuable lesson that is universally applicable. Walter Salles’ Brazilian political family drama “I’m Still Here” is the latest film to check every last one of these boxes.
“I’m Still Here” is set during the military dictatorship in Brazil, which lasted from 1964 to 1985. The film tells the true story of Eunice Paiva (Fernanda Torres), a mother of five and wife to ex-congressman and political dissident Rubens Paiva (Selton Mello). One fateful day, Rubens is arrested in his home, taken away for questioning and never seen again. In his absence, Eunice must hold the family together as she searches for answers.
Recent Golden Globe-winner Torres is utterly brilliant in the lead role of the matriarch Eunice. Torres delivers a composed, subdued performance that’s not as showy or outwardly emotional as one might expect. She portrays a woman who must maintain a resolute and unwavering facade so that her children can feel some sense of normalcy in such difficult times. Torres has a command over her facial expressions that few other actors can achieve — whether it’s a damning stare or a subtle nod of understanding, the intricacies of her performance are sure to break you.
Torres is joined by an ensemble cast of all ages, each of whom brings a unique sense of humanity and authenticity to their respective roles. Her mother, Fernanda Montenegro — the first Brazilian actor ever nominated for an Academy Award — portrays Eunice at age 85. A master of her craft, Montenegro provides a gripping, powerful and heartbreaking performance, all without uttering a single word and with very little screen time. Rubens is played by Torres’ longtime collaborator, Mello, whose jovial and warmhearted presence is felt long after his character leaves the story.
These rich characters, along with the sea of friends and family that surround them, are brought to life by Salles’ deeply humanist direction. Salles’ camera moves with fluidity, showing us what appear to be the joys of life on the beaches of 1970s Rio de Janeiro. Montages of Super 8 film footage, taken by the Paiva’s eldest daughter Vera (Valentina Herszage), are featured throughout, creating a true slice-of-life feel. But Salles is never oblivious to the gravity of the story he’s telling. The shadow of a military helicopter here, the roar of a parade of military vans there — he understands the importance of conveying the devastation wrought by a belligerent, invasive and omnipresent dictatorship.
Beyond the undeniable prowess of the filmmaking and performances, the film’s story of resilience in the face of adversity could not be more relevant today. “I’m Still Here” is adapted from the 2015 memoir of the same name, written by acclaimed Brazilian novelist Marcelo Rubens Paiva, son of Eunice and Rubens, who is also a character in the film. As Eunice lost her memory due to the onset of Alzheimer’s disease, Marcelo worried his mother’s story of immense strength and perseverance would be lost. This film adaptation spans more than four decades and reminds us of the myriad of lessons to be learned from Eunice’s story. It’s the ultimate testament to memory as a form of resistance.
The double meaning of the film’s title also encapsulates this message. On one hand, “I’m Still Here” refers to Eunice, her children and the people of Brazil, who went on living despite everything the dictatorship took from them. Those killed by the dictatorship are kept alive in the memories of those who have outlived them. By watching the film, the viewer becomes a part of history, as we too remember those that were lost. Our remembrance of people like Rubens and Eunice is our protest against the evils of dictatorship — now and forever.
But “I’m Still Here” also refers to the fascistic and authoritarian elements of society that are still prevalent today. Just as democracy persists, so too do the factions that aim to strip away civil rights and reinstate dictatorial policies. From 2019 to 2023, Brazil was led by far-right politician Jair Bolsonaro, whose presidency was characterized by homophobic and misogynistic rhetoric and the removal of protections for people living on Indigenous lands. After losing a reelection bid in 2022, Bolsonaro made claims of mass voter fraud and allegedly organized a coup that culminated in his supporters storming the presidential palace, Congress and the Supreme Court. In the United States, the recent re-election of President Donald Trump rings many of these same bells.
These recent events prove that now, more than ever, it’s important we remember our past. To forget the evils of past governments is to condemn ourselves to endure those evils again. As right-wing authoritarianism is on the rise globally, “I’m Still Here” conveys this essential message at a regrettably relevant time. Such a grandiose theme is presented through a small-scale window into one family’s struggle. We see it all: the blissful calm before the storm, the aching hole wrought by loss and the empowering trek towards justice.
But at its core, “I’m Still Here” is the story of Eunice Paiva. It is the story of one woman who smiled in the face of a world that gave her nothing to smile about. One woman who had the strength to endure.
Contact Leo Field at [email protected].