Surviving Dictatorship: The Heart-Wrenching Truth Behind ‘I’m Still Here’

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In a surprising twist, what once was old often reemerges as new, mirroring the lyrics of The Who’s “Won’t Get Fooled Again”: “The new power is just like the old power.” It seems that in our world, the spirit of counterculture gets co-opted by corporations, and revolutions transform into authoritarian regimes. An overthrow of a state by an opposition party can lead to them adopting the very traits they initially opposed – such as Ortega replacing Somoza, only to become a dictator himself; Choibalsan taking over from Amar, sending him to his death and becoming even more oppressive; Rákosi supplanting Tildy with his ‘salami tactics,’ eventually following in their footsteps.

The struggle for survival amidst a perpetual political turmoil demands unity. Support your loved ones, as they are your best defense in a world indifferent to our plight. The movie “I’m Still Here,” with its powerful title, encapsulates such resilience and the recurring cycle of state-inflicted hardship. This 2024 Brazilian film, now hitting cinemas nationwide due to its numerous nominations at the 97th Academy Awards – for Best Picture, Best Actress, and Best International Feature – is the work of renowned Brazilian director Walter Salles. Known for his praiseworthy films like “The Motorcycle Diaries,” “Central Station,” and “Linha de Passe” over the past few decades.

Among the outstanding films from the past two decades, “I’m Still Here” stands as the masterpiece by its director, earning every bit of praise it has received, particularly for the captivating lead performance of Fernanda Torres. Although Demi Moore is strongly contending for the Best Actress Oscar with her exceptional work in “The Substance,” and Mikey Madison’s performance in “Anora” is equally deserving, it is Torres who delivers the most impactful portrayal among the nominated actresses of 2024. This heartfelt, unassuming film about family, recollection, and authority showcases her talent at its finest.

A Family You’d Want to Be a Part Of

I’m Still Here starts off in a way that makes you feel like diving headfirst into the movie, living within its world perpetually. The initial part of the film is a stunning demonstration of “show, don’t tell” storytelling, using ordinary, everyday situations to provide necessary background information. Although not every family is as harmonious as the Paivas, the acting and direction make it utterly believable that this family is genuinely content.

We observe them, on both the beach and within their home, engaging in various activities such as dancing to vinyl records, playing backgammon, daydreaming about a new house, sharing meals, chatting, laughing, and even sighing. The initial scene is nearly captivating, serving to endear you to the Paivas family and their circle. As a viewer, you become emotionally invested, which intensifies the impact of the film’s subsequent events. It’s crucial to note that the narrative unfolds during the peak of Brazil’s military dictatorship, a fact hinted at in the opening text and visuals (depicting Torres swimming in the ocean while a military helicopter passes overhead). This oppressive regime would persist until the ’80s.

In due time, an enigmatic and daunting gang arrives at the Paivas’ residence, leading to the disappearance of Rubens, the family’s charming matriarch. A number of uneasy men now inhabit their home during Rubens’ absence. Eunice (Fernanda Torres), ever compassionate, attempts to soften their hearts by offering them meals and ensuring their comfort. However, her efforts bear little fruit, as she and her daughter Eliana (Luiza Kosovski) are the next ones subjected to an interrogation. When sacks are drawn over their heads, they come to understand that the situation is far more complex than they initially believed.

Learning How to Survive a Dictatorship

Mostly, the story “I’m Still Here” revolves around a woman – who could have been married to a political complication and might or might not have been aware of it – striving to maintain her life and that of her children cheerful amidst challenging circumstances. What makes this tale captivating is the portrayal of happiness itself, as Eunice and her family often resort to a “fake it ’til you make it” approach in their responses, which could be mere facade at times, yet transforms into a genuine demonstration of resilience and even defiance.

In an intriguing scene, when a photographer arranges the family for a picture and requests them to look grim rather than smile, Eunice chooses to defy this by smiling herself, prompting her children to laugh. To Eunice, sadness symbolizes surrender.

In one of the numerous subtle methods, Salles delves into the survival strategies employed by this particular family. Interestingly, it’s the bond of family that stands out as the most significant aspect, showcasing their mutual support and protection. Even someone as strong as Eunice wouldn’t have made it through this era without her children and those who act as family – her friends. This theme is echoed throughout the film for everyone involved. The movie I’m Still Here incorporates abrupt time shifts, serving as a constant reminder of the crucial role that the Paiva family connection plays in their lives as they navigate through life’s ups and downs.

In a surprising contrast to the intricate and expansive script by Murilo Hauser and Heitor Lorega, Salles’ direction adopts a highly concentrated method that lets us focus on individual moments. Be it a dance in a living room, an intense interrogation, a journey through a military checkpoint, or a foosball match, Salles’ direction is strikingly immediate and free of unnecessary distractions. We live these experiences as Eunice does, without excessive cinematic devices.

From my perspective as a cinema enthusiast, what truly stood out for me was not just Adrian Teijido’s skillful cinematography that perfectly matched the narrative, but also the profound impact of Warren Ellis’ music from his band with Nick Cave. This score was nothing short of breathtakingly beautiful, and Walter Salles showed an uncanny knack for using it effectively. There were only a handful of instances where the music took center stage, and those were precisely the times when it needed to be. It was a harmonious blend that perfectly accentuated the film, making it one of the finest collaborations between score and cinema you could hope for.

The Many Endings of ‘I’m Still Here’

The emotional resonance of the movie lessens by the time it concludes, but it begins with a poignant and impactful finish. Later, it skips ahead 25 years and then another 20 years, necessitating new actors and eventually feeling overly drawn-out in terms of plot and emotional depth. However, there is a certain genius in having the mother character, played by Fernanda Montenegro from Walter Salles’ previous film, portray an older version of the character. The movie, titled I’m Still Here, could have benefited from a 15-minute reduction or perhaps an additional 15 minutes to flesh out its concluding scenes more fully. As it currently stands, the ending is somewhat in limbo.

However, returning to the opening of this article, perhaps that’s the lesson. History often repeats itself, not just in the way daughters resemble their mothers, but in how revolutionaries can transform into the authorities they overthrow. Brazil, having shed its fascist Brazilian dictatorship, nearly repeated history recently when Bolsonaro and Lula da Silva’s opposition party attempted to imprison him and manipulate the presidential election.

In much the same way as other nations, Brazil appears to be on the brink of a complete takeover by an authoritarian regime. Given the current U.S. administration’s dismissal of previous appointees and the appointment of Trump supporters instead, it might be wise for citizens to stay vigilant and dedicate some time to watching the thought-provoking film “I’m Still Here“.

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2025-03-02 08:32