Walter Salles, who recently won an award for his movie “I’m Still Here,” talked about how it affected young viewers in Brazil and highlighted cinema’s role as a powerful tool to resist, while attending a workshop at the Doha Film Institute’s Qumra event in Qatar.
I’m Still Here,” a movie about Rubens Paiva, a Brazilian activist who vanished in 1970 due to the Brazilian military dictatorship, and his wife Eunice Paiva’s pursuit of justice, has achieved a groundbreaking first Oscar victory for Brazil. Salles further highlighted that this film has been warmly received by contemporary Brazilians, offering them insight into a previously concealed aspect of their history.
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“I’m Still Here” – the gripping tale of Rubens Paiva, a Brazilian activist who mysteriously disappeared in 1970 under the rule of the Brazilian military dictatorship, and his wife Eunice Paiva’s relentless quest for justice – has made history by winning its first Oscar for Brazil. Salles added that this film has resonated with younger Brazilians, providing them with a window into a forgotten piece of their past.
As a devoted cinephile, I can tell you that this movie has truly become ours, the Brazilian youth. We’ve seized “I’m Still Here” and used it as a platform to share our tales and those of our families who lived through the dictatorship in Brazil. We’ve taken to social media to express our stories, ensuring they’re not forgotten or overlooked.
Regarding future projects, Salles mentioned to reporters that he’s currently working on a five-episode documentary series about Brazilian footballer and political activist Sócrates Brasileiro, aiming to complete it before the year concludes.
As a film enthusiast, I’d rephrase it like this: “Born in the heart of the Amazon, specifically Pará, my film initially delves into internal migration within Brazil. However, as the story unfolds, it transforms into a tale about football. Yet, it wasn’t long before I realized that soccer served as an extraordinary tool for political transformation. Thus, I wove this revelation into one captivating journey.
In an enlightening discourse led by esteemed film critic Richard Peña during a recent masterclass, renowned director Walter Salles delved into his illustrious body of work beyond the Academy Award-winning “The Motorcycle Diaries”. He reminisced about his debut feature, “Foreign Land”, a significant collaboration with actress Fernanda Torres, who later starred in “I’m Still Here”.
He also highlighted his film “Central Station”, where we see Fernanda Montenegro, the mother of Fernanda Torre, in a pivotal role. Moreover, Salles reflected upon another notable project, “The Motorcycle Diaries”, which featured Gael García Bernal as Che Guevara and a diverse cast including many non-professional actors.
The final movie, as Salles remembered, originated from a proposal made by Robert Redford. He had obtained the rights to the book with intentions of directing the film himself, but instead, he offered the project to Salles, stating: “I’d like to give it to a Latin American director.
Initially, Salles responded by stating that he required some time to ponder the proposal. Later, Salles remembered telling Redford, “To remain true to the book, you essentially need to work with inexperienced actors or those just starting out,” and that “the project was intricate because it demanded a long and arduous journey.” After a brief moment of contemplation, Redford affirmed, “We either proceed in this manner or not at all,” according to Salles. “He wholeheartedly endorsed the idea,” Salles continued. “His acceptance of the challenge was truly commendable.
At the conclusion of the masterclass, Salles encouraged budding Arab directors to emulate his path, emphasizing that they should create movies in the face of injustices. He stated, “Cinema serves as a means to build memory and combat its destruction.” Regardless if it’s filmed with an iPhone or a full-length production, it is an extraordinary tool for resistance.
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2025-04-05 20:46