The Motorcycle Diaries director Walter Salles turns his focus to another real-life story with “I’m Still Here,” which chronicles the harrowing experiences of Eunice Paiva (Fernanda Torres) during Brazil’s military dictatorship.
The film is nominated for three Academy Awards, including Best Picture and Best Actress for star Fernanda Torres, and is based on Marcelo Rubens Paiva’s memoir. “I’m Still Here” is set in early 1970s Rio de Janeiro, when the authoritarian regime enforced control through detentions and disappearances.
The story follows a vibrant, loving family whose idyllic life is shattered when armed men take away the family patriarch, Rubens (Selton Mello), under the pretense of a deposition. Eunice and her eldest daughter are also abducted, subjected to brutal interrogations, and imprisoned for 12 days.
Fernanda Torres delivers a heart-wrenching performance as Eunice, conveying her journey from grief to resilience. Her transformation into a determined fighter for justice is remarkable, and it’s no wonder she won a Golden Globe and received an Oscar nomination.
One of the film’s most striking elements is its use of Super 8 footage, which captures the family’s once-idyllic life and evokes the power of memory. However, the film loses momentum in its final act, shifting to 1996 and then to 2014, which may have been condensed to maintain the emotional impact established by editor Alfonso Gonçalves.
In my latest review, I discuss why Fernanda Torres shines in her role as Eunice Paiva, how memory is powerfully embraced, and why the film’s final third disrupts the brilliant pacing.
Letter Grade: A