Brazil Cinema Abuzz Over 'I'm Still Here' Path To Oscar
Brazilian cinema buzzes with excitement over “I’m Still Here,” a moving drama that brings Fernanda Torres and Selton Mello together on screen after over twenty years. Earning much praise and Oscar talk, the film highlights the pair’s strong chemistry under Walter Salles’ skillful direction.
Past Collaborations Spark New Magic
At the start of 2001, Selton Mello was a guest on the popular Brazilian show “Normal People” with Fernanda Torres. Though it only continued until 2003, this show left a lasting impression on both actors. Mello then became famous as an actor in big movies and a respected filmmaker. He gained praise for directing and acting in highly praised national films. Meanwhile, Torres continued building her legacy in film and television—bolstered by a famous lineage that includes her mother, Fernanda Montenegro, who rose to global prominence with an Oscar nod for Walter Salles’ 1998 film “Central Station.” The connective tissue that weaves these talents together spans decades and multiple artistic endeavors.
After over 20 years, Torres and Mello find themselves cast as spouses in Salles’ widely praised feature “I’m Still Here,” fueling both excitement among local audiences and an outpouring of international interest. Based on the memoir of Marcelo Rubens Paiva—titled “I’m Still Here”—the film centers on a true story of tragic loss and extraordinary resilience. Paiva’s father, activist Rubens Paiva, vanished under suspicious circumstances during Brazil’s military dictatorship. Paiva’s mother, Eunice, not only endured the atrocities of imprisonment and torture but also went on to raise five children while building a notable legal career as a human rights advocate.
Speaking with Variety, Mello described how intimately he’s come to know the Torres family over the years: “I feel like part of the family,” he said, recounting past collaborations with Torres’ brother, filmmaker Cláudio Torres, and cherished conversations with Fernanda Montenegro. The actor likens reuniting with Fernanda Torres to stepping into a warm, familiar circle—albeit this time in a project of deeper historical and emotional scope.
Torres and Mello’s roles as Eunice and Rubens Paiva, respectively, mark a significant departure from their earlier comedic dynamic. Their first collaboration was comedic, but “I’m Still Here” demands a dramatic heft. This approach has captured festival and critical acclaim since it premiered at the Venice Film Festival, where it won best screenplay. Torres, who soared to international attention for comedic turns (including her 2011 series “Slaps & Kisses”), exhibits remarkable dramatic range in this film, prompting talk of award-season gold. Indeed, her Golden Globe nod for Best Actress in a Drama has only heightened the anticipation for the film’s January 15 U.S. release via Sony Pictures Classics.
Both actors take pride in the synergy they created on set. “We didn’t know if that chemistry from years ago would still be there,” Torres told Variety, “but it happened in a big way.” For Mello, the pair’s comedic past proved unexpectedly helpful. He relished how her irrepressible humor carried over into more tragic scenes: “She’s super funny,” he said, “and even with the painful backstory, we’d find moments of levity off-camera.”
Walter Salles’ Reverent Approach to History and Family
Walter Salles, an iconic figure in Brazilian cinema whose best-known works include “Central Station” and “The Motorcycle Diaries,” directed “I’m Still Here” with a distinct blend of empathy and authenticity. The film reimagines the mid-20th-century saga of a family torn apart by political violence—an account made all the more personal by Salles’ childhood connections to the Paivas. He had visited their home as a young boy, forming fleeting friendships with some Paiva children. That personal link deepened his passion for honoring every nuance of their story.
This heartfelt commitment manifested in a set atmosphere that Torres called “almost sacred.” Phones were seldom seen, and Salles opted to shield the younger actors from too much-scripted detail, letting them respond more spontaneously. “Walter knows the actor is the heart of a scene,” Torres explained to Variety. “He created a living world, not just a set. That house felt like a real home.” Much of the filming happened in a thoughtfully chosen spot ‒ meant to look like the Paivas’ real home ‒ giving an authentic feel to how it looks and the feelings inside.
On his side, he liked the rare choice to film mainly in the order of events. Having never experienced that process before, he found it gave him a deeper emotional grounding. Ruben’s leaving happened at the same time Mello finished his work. He walked away from the set ‒ Torres and the young actors probably felt he was gone. Mello told Variety, “When I saw the final version, I watched it like any regular viewer. It’s sad to see a story go on after you’ve left.”
The dedication to authenticity extended to every layer of production. Torres, who was not originally Salles’ top choice to play Eunice, came around to the role after reading the script in what she described as a relaxed, “no pressure” environment. She suspects her comedic reputation in series like “Slaps & Kisses” initially led the director to consider alternative dramatic actors. Her bond with the honest Eunice grew stronger every day ‒ resulting in a portrayal that reveals the mother’s strong toughness, loyalty, and intense support.
Apart from his technical ability, Salles’ interest in sharing this overlooked part of history with global viewers influenced the whole mood on set. “He created an environment, not a set,” Torres highlighted. “It smelled like a home; it felt like a home.” The emphasis on forging a believable family dynamic proved crucial for a narrative that toggles between shocking cruelty—Rubens’ disappearance and presumed murder by Brazil’s military—and unwavering hope, as embodied in Eunice’s fight for justice.
The Complexities of Adapting History for Modern Audiences
“I’m Still Here” merges painful historical reality with elements of family drama, providing a lens into Brazil’s authoritarian past—an era that left deep scars across its society. In the 1970s dictatorship setting, the film shows how the Paiva family’s pain reflects the struggles of many Brazilian families whose loved ones disappeared or faced harsh government-approved violence. According to Torres’ remarks to Variety, many Brazilians only knew Rubens Paiva’s name from newspaper clippings: “They misinformed him,” she recalled how the government often suppressed details of detainees’ final fates. In 2015, Marcelo Paiva wrote a memoir that inspired “I’m Still Here” ‒ it widened the story ‒ showing Eunice’s brave path from torture survivor to strong lawyer and caring guardian.
These new details give the movie a powerful moral purpose. Salles uses old records and personal stories ‒ using a thoughtful style that respects what the victims went through. The film addresses universal themes—parental love, national memory, and resilience—while specifically confronting the horrors of a repressive regime. Mello is keenly aware of that symbolic weight. “I hate movies that you leave feeling worse,” Torres told Variety, “but in this case, you see how they overcame. That’s why the story resonates.”
At the same time, the adaptation faced tricky creative choices, such as which events from Paiva’s life to highlight and how to arrange the timeline. Ending with a hopeful note, the film shows that families broken by political violence might find ways to rebuild. This idea goes beyond Brazil ‒ important to places dealing with hidden pasts or ongoing struggles for truth and healing. Salles wants the outcome to be a time-specific piece and a statement about human strength against strong state power.
The film’s emotional path fits well with Mello’s funny background. Torres says Mello’s natural skill to switch from humor to deep feeling keeps the film’s spirit lively. In one scene, the whole family gathers for a typical day, but only for Rubens to disappear soon after. Mello’s mix of warmth and fatherly energy makes viewers care more ‒ making the sadness stronger when he leaves. This gentle mix of comfort and sadness shows that whole communities can unite in tough times ‒ creating hope in the middle of sorrow.
Momentum Toward the Oscars and Global Celebration
“I’m Still Here” quickly became a strong competitor in the awards scene. It won top prize for screenplay in Venice and did very well in Brazil’s local box office ‒ beating big commercial movies. Sony Pictures Classics ‒ known for supporting international films that critics love ‒ plans to show the drama in U.S. theaters on January 15, in the middle of the Oscar season. With a spot on the shortlist in the international feature category, the film’s future looks very promising.
The global recognition is gratifying for the entire cast and crew, who see the project as an opportunity to bring greater awareness to a neglected chapter in Brazil’s history. “When we premiered at Venice and saw the 10-minute standing ovation, I felt that justice was done,” Mello told Variety, likening the applause to a belated public tribute to Rubens Paiva’s memory. He told how the crowd’s strong feelings showed that the movie’s truths about Paiva’s life and Eunice’s determination touched people everywhere ‒ connecting to shared ideas of freedom and family togetherness.
Who always shows her deep respect for Salles’ style, thinks this movie finds a clear middle ground between serious history and widespread interest. She acknowledges that her comedic success might have led fans to assume she’d never tackle a role so laden with sorrow. Yet the public response reassures her that people see the authenticity in her portrayal. “They’ve been so generous in their attempt to honor the Paiva family,” she said. “It’s a beautiful story, but it’s also universal.”
In a fiercely competitive Oscar season filled with numerous star-studded international films, “I’m Still Here” stands out for its powerful emotional depth. It would enhance Brazil’s rich film history at the Academy Awards if nominated for an Oscar. This journey began long ago when “Central Station” earned Fernanda Montenegro a Best Actress nomination. This new film once again showcases the strong skills of the same family, demonstrating connections across different generations.
Also Read: Brazilian Film Reflects on Dictatorship Trauma Igniting National Conversation
When asked by Variety if they feel pressure for the film to earn an Oscar nomination, Torres expressed that her primary hope is for more people to encounter this story. She stated, “The memory of this family’s journey is something we’ve all come to cherish beyond accolades.” Mello agreed, noting that the cast has already succeeded in giving the Paiva story renewed life on screen. He added that when the Academy acknowledges their effort, it serves as an extra validation for a film dedicated to keeping the memory of a tragedy alive—sparking conversation and perhaps encouraging people to reflect deeply on history.
