Fernanda Torres’s performance in "I'm Still Here" is remarkable; it rivals the celebrated legacy of her mother, Fernanda Montenegro, a highly respected figure in Brazilian theater and film known for works like “Central Station” and “House of Sand.” It’s quite something to note that Montenegro appears in the movie as an older version of Eunice Paiva, experiencing dementia, having recently retired from acting at 96. However, this is truly Torres's showcase, and she dominates every scene. Torres navigates a complex web of Latin family dynamics, social expectations, class distinctions, and the burdens of motherhood—all while dealing with the absence of her husband and lover. She does so with a grace that few could possibly achieve under such circumstances; it’s a portrayal marked by quiet despair alongside an undeniable strength. The film's music isn’t just background noise but functions as a key character, highlighting how music served as a form of protest, expression, and preservation during Brazil's 1970s dictatorship. Because lyrics needed government approval to be recorded at that time, using subtle language became an art in itself—a way to challenge censorship. "I’m Still Here" incorporates classic Brazilian Popular Music (MPB) songs to both educate younger audiences and resonate with those already familiar with them. The opening track, “It's Necessary to Find a Way, My Friend” by Roberto Carlos and Erasmo Carlos, captures the film’s tone and the era’s veiled political messages. Walter Salles’s direction is exceptional. The movie’s length of 137 minutes feels necessary; each scene has purpose. Salles removed any scenes depicting Fernanda crying because Marcelo, the youngest son and author of the book on which the film is based, said his mother didn't cry. This restraint—honoring the real woman’s fortitude instead of resorting to emotional manipulation—is what makes this movie so special. The disappearances deserve consideration. During Brazil’s military dictatorship (1964-1988), approximately 434 people vanished. In Argentina, under its military rule (1976-1983), that number was around 30,000. Chile, during the time of Augusto Pinochet (1973-1990), saw roughly 3,000 disappearances. Guatemala's civil war (1960-1996) resulted in approximately 45,000 missing people. In the United States, from 2025 to now, there have already been 5,784. "I’m Still Here" isn't solely about Brazil’s history; it serves as a caution about what occurs when we cease to keep track and stop inquiring about those who are gone. Eunice Paiva should be an example for us all.

Source on TMDB