Fernanda Torres Is a Subtle Marvel in I’m Still Here

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In a surprising turn of events, the renowned Brazilian actress and author, Fernanda Torres, unexpectedly bagged the Golden Globe for Best Actress in a Dramatic Role for her role in “I’m Still Here.” Given that the film is only available in limited release and Torres wasn’t considered a top contender for major awards this season, the win sparked some debate. Could it be due to the fact that most of the heavyweights were relegated to the Musical or Comedy category? Or perhaps because other strong contenders weren’t even nominated? Did Angelina Jolie and Nicole Kidman cancel each other out in the voters’ minds? Was Pamela Anderson overlooked by the Globes? Here’s an intriguing theory: Torres won primarily because, in this unique instance, the voters had actually watched the movie. Fernanda Torres delivers a powerful performance that essentially carries Salles’s political thriller on her shoulders.

The film “I’m Still Here” unfolds in the early 1970s, during Brazil’s military dictatorship that took power following a 1964 coup. This era was marked by wrongful detentions, torture, disappearances, and deaths. Torres portrays Eunice Paiva, wife to exiled opposition leader Rubens Paiva (Selton Mello) and mother of five. Their vibrant household, filled with guests and friends, presents a contrast between the tranquility of their daily life – complete with beach outings, ice cream breaks, impromptu dance parties, soufflé dinners, and more – and the looming political unrest. The couple is well-aware of Brazil’s tumultuous political climate; they converse with friends planning to leave the country, and Rubens occasionally takes private calls and exchanges coded messages. However, when their eldest daughter Vera (Valentina Herszage) and her companions encounter a military checkpoint after watching “Blow-Up“, the distress is tangible.

Despite Ruben’s political status providing them some protection, the family still endures the harsh oppressions of the regime. One day, plainclothes officers arrive to interrogate him, and he complies without resistance, believing he would return soon; Eunice even offers lunch to the stern, imposing men who remain behind. Unfortunately, this is the last time anyone in the family sees Ruben. Not long after, Eunice and her daughter Eliana (played by Luiza Kosovski) are also taken away. During interrogation, when asked about communist ties while screams echo from outside the room, a distraught Eunice provides no information to her captors. The man questioning her claims, “I’m trying to ensure that you can continue taking care of your family, sending your children to school, and playing backgammon.” This statement serves as both a justification for oppression (“We’re keeping people safe”) and a warning (“We’re watching you”). After being released, Eunice frantically searches for Ruben and attempts to free him, but is told the military has no information on his whereabouts. There are whispers of Ruben having escaped, sightings by former prisoners, and even a note in a prison ledger about his request for water, but mostly, it’s a wall of silence.

Director Salles (known for “Central Station” and “The Motorcycle Diaries”), who hails from a notable Brazilian family, had known the Paiva children during his youth. He immerses himself in the tactile and attitudinal aspects of that era, making Eunice’s home feel authentic and lived-in. The kids’ rooms are adorned with movie and pop posters, collages, and pictures of Che Guevara. The narrative progression unfolds subtly, much like a harmful gray fog gradually spreading through the atmosphere. Throughout this period, many films have been made about disappearances under repressive regimes, not just in Brazil but worldwide. Salles recognizes that depicting how life continues amid such evil – or at least strives to continue – sheds light on a valuable truth about human nature.

In the course of his work experience in the U.S., the director’s influence from Hollywood can be observed subtly in some of the movie’s more straightforward conclusions. For instance, we anticipate that the family photo taken early during their joyful beach trip will reappear at the end. The home videos shot by the kids are saved for a heartwarming showing in the final act. Key dialogues and moments are repeated significantly in later scenes, providing a sense of closure. Although these elements might seem predictable, they aren’t necessarily major flaws in a film as leisurely-paced and meandering as this one, which deliberately portrays life’s resolutions as not always easy to find.

Afterward, Torres’ performance is exceptionally internalized, preventing a complete emotional breakdown on-screen, except for a few poignant instances that occur swiftly and fleetingly. It’s a captivating portrayal that leaves us spellbound. She skillfully maintains the overall narrative rooted in a profound emotional truth, making the subtle hardships she endures even more heartrending. As she continues to persist, we empathize with her fundamental powerlessness against such unthinkable atrocities – a feeling that resonates deeply within us.

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2025-01-18 02:56