I watched I’m Still Here and I really liked it! 4/5
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Some historical dramas hit with the force of a gut punch. I’m Still Here is one of them. Walter Salles’ latest film is an emotional, deeply personal look at one of the darkest periods in Brazil’s history, told through the eyes of a woman who refused to be silenced. Centered on Fernanda Torres’ stunning performance, the film captures the pain of loss, the weight of living under dictatorship, and the quiet but unshakable resilience of those left behind.
At its core, I’m Still Here is a story of love and grief—love for a husband, a family, and a country, and grief for what is stolen by oppression. It’s a film that lingers long after the credits roll, not just as a historical account, but as a testament to the enduring strength of those who fight for truth, even when the world refuses to listen.
A Family Caught in the Crossfire
Set during Brazil’s military dictatorship, the film follows Eunice Paiva (played by Torres), whose husband, Rubens Paiva (Selton Mello), is abruptly taken by the regime and never seen again. His crime? Speaking out against the government. What follows is a harrowing journey of uncertainty, pain, and quiet defiance as Eunice is forced to raise their children alone while desperately searching for the truth about her husband’s fate.
The film takes us through multiple time periods: from the brutal days of dictatorship to Brazil’s return to democracy, showing Eunice’s relentless fight for justice. In later scenes, Fernanda Montenegro steps into the role of an elderly Eunice, delivering a haunting performance as a woman whose mind is fading but whose trauma remains painfully intact.
Salles, known for his work on Central Station and The Motorcycle Diaries, directs with a steady, assured hand. He never overdramatizes or resorts to sentimentality. Instead, he lets the story unfold naturally, with quiet moments of heartbreak that feel all the more devastating because of their restraint.
Fernanda Torres: The Heart of the Film
Torres delivers what might be the best performance of her career. She doesn’t play Eunice as a grandstanding activist, but as a woman who has no choice but to keep going—who endures unimaginable loss while still holding her family together. It’s a performance filled with quiet strength, but also raw vulnerability. You can see the exhaustion in her eyes, the way she suppresses her rage to protect her children, the slow realization that her husband will never come home.
There’s a particularly devastating moment after Eunice is released from prison, where she sits in silence, barely able to move. No dramatic breakdown, no screaming—just pure, numbing grief. It’s in scenes like these that Torres truly shines, showing us a woman who has lost so much but refuses to break.
Fernanda Montenegro, as the older Eunice, has less screen time but delivers a heartbreaking performance. In one of the film’s most gut-wrenching scenes, she watches a news report about Brazil’s Truth Commission and, for a brief moment, seems to remember everything. The look in her eyes says it all: a lifetime of pain and unanswered questions.
A Timely and Necessary Film
Despite being set decades ago, I’m Still Here feels painfully relevant today. With political tensions rising worldwide and the ongoing battle against misinformation, the film serves as a sobering reminder of the dangers of erasing history.
It’s no surprise that far-right groups in Brazil attempted to boycott the film. I’m Still Here doesn’t just expose the horrors of the dictatorship—it refuses to let them be forgotten. The film’s success at the box office, becoming the highest-grossing Brazilian film since the pandemic, proves that audiences are hungry for these stories, even when certain factions would rather they be buried.
A Film That Stays With You
What makes I’m Still Here so powerful is its refusal to offer easy resolutions. Even as Brazil transitions back to democracy, Eunice’s story doesn’t end with justice being served. Rubens’ killers go unpunished. The government acknowledges his murder but does nothing to hold those responsible accountable. Eunice, like so many others, is left with a death certificate and a lifetime of unanswered questions.
Yet, the film isn’t just about loss. It’s also about perseverance. Eunice goes on to become a lawyer, dedicating her life to Indigenous rights and justice. She doesn’t get the closure she deserves, but she keeps fighting anyway. In the end, I’m Still Here is about the power of remembering—about making sure that stories like Eunice’s, and Rubens’, are never erased.
Final Verdict
I’m Still Here is not an easy watch, but it’s an essential one. Salles crafts a moving, unflinching portrait of grief and resistance, anchored by a phenomenal lead performance from Fernanda Torres. The film’s quiet, understated approach may not be for everyone, and its slow pacing requires patience, but for those willing to sit with it, the reward is an emotionally devastating and deeply resonant experience.
With its Oscar nominations and international acclaim, I’m Still Here is not just a triumph for Brazilian cinema—it’s a triumph for storytelling that refuses to let history be rewritten.