Directed by: Walter Salles
Written by: Murilo Hauser and Heitor Lorega, based on Marcelo Rubens Paiva
Starring: Fernanda Torres, Selton Mello, Antonio Saboia, Guilherme Silveira, and Valentina Herszage
Runtime: 137 minutes
‘I’m Still Here’: Torres and Mello make lasting impressions in this Oscar-nominated political drama
Eunice Paiva (Fernanda Torres), a 40-something wife and mother, floats in the ocean alongside a Rio de Janeiro beach and enjoys the tranquility and beauty of the inviting, gentle waters and gorgeous coastline under blue skies.
Director Walter Salles (“Central Station” (1998), “The Motorcycle Diaries” (2004)) lets Eunice’s levity only last – literally – one second as a military helicopter flies over her head. She opens her eyes and turns to the noisy aircraft with concern as it glides away, heading inland, but its presence interrupts her peace.
This opening shot of Salles’ film symbolizes the Paiva family’s experience in this biopic that begins in 1970. “I’m Still Here” depicts a profoundly personal story of an unjust encounter with Brazil’s military dictatorship.
The 137-minute movie – nominated for three Oscars (Best Picture, Actress (Torres), and International Feature Film) – is a cautionary tale of extreme government overreach, one that impacted the country, but the cinematic focus here zeroes in on the Paivas’ gut-wrenching experience. Screenwriters Murilo Hauser and Heitor Lorega based their film on Marcelo Rubens Paiva’s book, and Marcelo is the real-life son of Eunice and Rubens (Selton Mello) Paiva.
Once the Brazilian Army officially invades the Paivas’ space, specifically their beautiful house that’s just a short walk from a Rio beach, the film effectively creates a disoriented state of affairs in ways that will not be revealed in this review.
Until then, Salles, Torres, Mello, and the child actors joyously flood the screen with the family’s warm household. Eunice and Rubens love one another. In fact, Eunice’s bookmark is an old photo of them. Their caring foundation supports and radiates throughout the family as their five children – four girls and one boy – fill their home with smiles and laughter.
Rubens is a gregarious force.
The former congressman now works in the private sector. Rubens takes phone calls and labors after hours, often at home, but he seems free of political rigors and savors time with his wife and kids, the oldest of whom is college-aged.
The Paiva residence has countless small rooms with books, posters, and current hits spinning on a record player. Set decorators Paloma Buquer and Tatiana Stepanenko certainly capture the era’s cultural vibes.
Rubens plays foosball with his son, Marcelo (Guilherme Silveira), and backgammon with Eunice. He gladly gives his best wishes to his oldest daughter, Vera (Valentina Herszage), who travels to London, and his youngest when she loses a baby tooth. Salles and the cast and crew establish heaps of goodwill between the Paivas and the audience, so when life falls into on-screen turmoil, we easily garner the angst they feel.
This political drama carries dread and mystery, and they both consume Eunice’s thoughts. However, appalling circumstances thrust her into the new roles of investigator, financial provider, and protective mother. Eunice’s stresses become etched on her face as she attempts to shield her kids from potentially horrible news. Other than a couple of specific outbursts, she maintains a regal dignity throughout constant emotional pain and an unknown future. The real-life drama also shifts from taxing to inspirational, and Torres carries Eunice’s burden and her journey beyond the 1970s.
Admittedly, the last act proceeds as a lengthy epilogue that breaks the engaging narrative and the distressing tones of the film’s first 105 minutes, but it also offers a chance for closure about a story that opens on a calm Rio day while Eunice floats on the water.
Jeff’s ranking
3.5/4 stars
