Brazil Celebrates ‘I’m Still Here’ Oscar Win as a ‘Milestone’ in Its Movie Industry Surge

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Following its three Oscar nominations for “I’m Still Here” by Walter Salles, which is usually met with enthusiasm equal to the soccer World Cup, Brazil reached a frenzy when it won the award for Best International Feature Film.

As a movie critic immersed in the vibrant atmosphere of Rio de Janeiro’s Carnival, I found myself caught up in the excitement when the announcement of “I’m Still Here” winning an Oscar echoed through the Sambadrome. The news ignited a wave of jubilation that swept across the crowd, as if the city itself was celebrating this triumph. Interestingly, best actress nominee Fernanda Torres had already been honored as one of the Carnival’s muses, making this event even more intertwined with the world of cinema.

Today serves as an especially proud moment for Brazilians, as we celebrate our cinema, our artists, and most significantly, our democratic system. This acknowledgement highlights the significant role Brazil has played in the fight against authoritarian rule, both at home and on the global stage. (Brazilian president Lula’s statement)

Brazil’s television titan, Globo, announced a press release commemorating their first-ever Oscar win, an accomplishment that comes as they mark their 100th anniversary. Remarkably, this triumph was for the very first film supported by their premium video on-demand service, Globoplay.

For many years, Globo has been committed to nurturing, promoting, and celebrating Brazilian talent. It brings us immense joy to witness this talent being acknowledged as some of the best globally. This triumph is a testament to our cinematic prowess and a source of pride for every Brazilian!,” said Manuel Belmar, the director of finance, legal, infrastructure, and digital products at Globo.

Brazil’s Movie Surge

On the stage of the Dolby Theater, Salles graciously received the award for International Feature, acknowledging it on behalf of Brazilian cinema.

Recently, it’s been enjoying significant success. The screenplay “I’m Still Here,” which triumphed at the Venice Festival, has already claimed a substantial victory in Brazil.

The film “I’m Still Here,” which was jointly produced by Salles’ VideoFilmes, Rodrigo Teixeira’s RT Features, Mact Productions from France, Globoplay, Arte France, and Conspiração, has earned $18.5 million at Brazilian cinemas, marking it as the highest-grossing domestic movie since the pandemic.

This film, far from being a typical blockbuster, is quite remarkable for its portrayal of the true story of Eunice Pavia. It documents her transformation and the rebuilding of her family following the disappearance of her husband, Rubens Pavia, who was an adversary of Brazil’s military regime and was arrested in 1971.

This past weekend, “I’m Not Here” achieved a significant milestone by becoming the third Brazilian film to surpass $5 million at the US box office. Furthermore, it’s been shattering box office records in the UK.

In Berlin, where Brazil has been a significant force with 13 titles displayed at the festival, “The Blue Trail,” directed by Gabriel Mascaró, was awarded the Silver Bear Grand Jury Prize on February 21st – the second most prestigious accolade given at the event. Prior to this recognition, its distribution agent, Lucky Number, a newly established company based in Paris, had already sold it to almost half of the world’s major markets.

Last year at Cannes, the film “Motel Destino” by Karim Aïnouz secured a place in the competition, which is less common historically for Brazilian movies.

But Can Brazil Sustain the Momentum?

Reaching this significant achievement signifies a pivotal moment, not just for Brazilian film industry, but also for Globo themselves,” stated Globo in their official announcement.

Indeed, funding for films in Brazil has seen a significant surge. In March 2022, the Paulo Gustavo Law was passed by the Senate, marking a post-pandemic recovery measure. This law has allocated approximately $480 million (as of current exchange rates) to boost Brazil’s audiovisual sector, with funds distributed nationwide.

The initial movies funded by it are now in their final stages. The federal government of Lula has combined financing resources for the cinema industry, encompassing co-production funds, as businesses increasingly seek partnerships overseas.

In the regions of Sao Paulo City, State, and Rio de Janeiro, productions are eligible for financial incentives when they spend money within these territories.

At the Berlin Festival in February, the state of São Paulo in Brazil, highlighted by EbMaster as an emerging hub for film production with projects such as Netflix’s “Senna,” unveiled a bold plan for the development of its audiovisual industry.

Support for film on such a large scale is uncommon across South America. Nevertheless, commentators and the industry recognize that there are hurdles to overcome.

An article published by Folha de S. Paulo on Monday titled ‘Why Repeating the Success of “I’m Still Here” Is So Challenging,’ discusses the lengthy development and writing process behind films like “I’m Not Here” (7 years) and “The Blue Trail” (over a decade). The piece suggests that such extended work on screenplays, with the necessary infrastructure and creative freedom, is not common among professionals in the film industry.

2025 could be remembered as a magnificent year for Brazil, with its accomplishments already shining bright. Not only did Brazil win the prestigious international feature award at the Oscars, but it was also selected as the country of honor for the forthcoming Cannes Film Market, an event that coincides with the festival in May.

Elsa Keslassy contributed to this story

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2025-03-03 21:48