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Narrative

A woman who marries a prominent politician during Brazil’s military dictatorship is forced to reinvent herself and carve a new path for herself and her children after her family’s lives are disrupted by a brutal and arbitrary act. Fernanda Montenegro and Walter Salles collaborate for the first time 26 years after the release of Glavni kolodvor (1998), for which Montenegro was nominated for an Academy Award for Best Actress. Fernanda Torres and Salles previously collaborated on Terra Estrangeira (1995) and O Primeiro Dia (1998). (2024).

A Festa do Santo Reis Written by Léo Maia (as Marcio Leonardo) Performed by Tim Maia

I’m Still Here goes beyond being just another film about a military dictatorship to offer a human, intense, and brutally intimate portrait of a family falling apart under the influence of overwhelming, uncontrollable forces. Walter Salles, with his raw style and unparalleled sensitivity, returns to the subject of a country gripped by repression, but instead of focusing on the big political events, he focuses on their consequences in homes and personal lives. By centering the story on a family drama, Salles subverts the expectations of traditional historical filmmaking, avoiding documentary tones or a broad, structured focus. Here, Brazil in the 1970s is felt through the struggles of the Paiva family, and in the painful detail of their shared wounds, Salles depicts the scars left by a dictatorship that, while distorted in collective memory, remains vivid in the lives it destroyed.

Family dinners and memories of beach trips become painful when revisited after Rubens’ disappearance, because they reveal the void left by systemic violence

The choice to center the narrative on the perspective of Eunice—played by the iconic Fernanda Torres and Fernanda Montenegro—gives the film an undeniable authenticity. Coping with the loss of her husband, Rubens Paiva (Selton Mello), a public figure and human rights advocate, Eunice must hold her family together and maintain the emotional stability of her children. Eunice is the pure embodiment of resilience and maternal love, and her daily routines, rituals with her children, and moments shared as a family are fragments of a once ordinary life now shattered by her sudden absence. Salles skillfully uses this familial intimacy to show how dictatorship destroys emotional bonds and disrupts the peace of each household, prompting viewers to reflect on how history is also shaped by the losses and quiet moments of everyday life.

Fernanda Torres’ performance deserves enormous praise

She embodies a woman who does not let grief paralyze her, balancing the protection of her children with the constant search for answers about her husband’s whereabouts. This balance of strength and vulnerability gives Eunice a striking and necessary presence in the film. In a moving and remarkably mature performance, Montenegro, as the older Eunice, amplifies the impact of Rubens’ absence, introducing a heavy, almost physical silence that resonates with those who never had the chance to say goodbye. The real relationship between Montenegro and Torres as mother and daughter adds authenticity to the transitions in time, making the portrayal of Eunice all the more sincere and believable.

Technically, the film is a visual achievement that captures the intimate pain of this family through carefully crafted cinematography

This authentic continuity allows Salles’ film to go beyond mere fiction and achieve a depth that only a personal story can achieve. The use of confined spaces and close-ups reveals the characters’ physical and psychological limitations, reflecting the oppression that hangs over their lives. The soundtrack follows the most emotional scenes with an almost mystical quality, mingling with the characters’ feelings like a whisper that contains the pain of the past.

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