I’M STILL HERE

Brazil, 2024, 113 minutes, Colour.

Fernanda Torres, Selton Mello, Antonio Saboia, Fernanda Montenegro.

Directed by Walter Salles.

A drama that is well recommended. Nominated for many awards, it would it won the Academy Award for Best Foreign Language Film, 2024, was nominated in a number of categories. The star, Fernanda Torres, won a Golden Globe for Best Actress. The film has had 60 nominations for awards and 50 wins.

The director is Walter Salles, one of Brazil’s eminent directors, celebrated in the 1990s with international acclaim for Central Station. Director of many Brazilian films, he had international attention with his story of Che Guevara, The Motorcycle Diaries, and the thriller, Dark Waters, with Jennifer Connolly. His career is a fine cinema achievement.

In this film he is very much on home ground, Brazil in the 1970s, experiencing the military dictatorship – and a reminder that during the 1970s there was the turmoil in Chile, Allende and Pinochet, and the violent rule of the generals in Argentina.

The film opens joyfully, sunny, the beach, the water, happy family, the father a politician returned from exile, his strong-minded and loving wife, four daughters and a young son. It seems idyllic. But, an indication of difficulties to come, a group of youngsters are pulled over by the police, roughly treated, under suspicion, but let go. Despite the happy home sequences, the gatherings of friends, the zest for life, these are intimations of trouble to come.

The father, Rubens Paiva(Selton Mello) is genial, but suggestions that he is also involved in something subversive. But, the principal focus of the film is on his wife, Eunice, a powerful presence, an admirable performance by Fernanda Torres.

Heavy-handed officials take the husband away, and his wife is interned in a prison, echoes of torture and interrogations resounding in the darkness. One of the daughters is also taken. Because so much of Rio is seen in sunlight, the dark prison, the conditions, the harsh treatment, although one young guard is sympathetic and offers some information and support, the continued sense of menace, set the tone for the rest of the film.

Eunice pursues the search for her husband, supported by her family and friends, discovers the network of support for victims of the government. Eunice also decides, especially with police and government thugs continually parked outside the home, to take the family to San Paolo, wrenching sequence as the house is emptied and they drive away from the past.

Then a transition to the 21^st century, Eunice having gone back for studies, heavily involved in legal issues and citizens rights, supported by the family and their families, especially the son, Marcelo, on whose book about his father this film is based. Here is a woman who started life with ordinary expectations, has suffered severely, has created a new life and career with significant public achievement.

Amid the joy, there is a sad aftermath, as Eunice has succumbed for years to dementia – and Walter Salles casting his award-winning star from Central Station, Fernanda Montenegro, as the elderly Eunice. And, as might be expected, there are photos of the actual characters during the final credits, tribute to them.

The experience of repression and suppression is destructive – but, it can also be a challenge to work for a better world.

1. The status of the director, nominations and awards?
2. Impact for a Brazilian audience? For audiences outside Brazil? Brazil’s history, military dictatorship, the 1970s?
3. The Rio setting, the sea, the beaches, the mountains, buildings, streets, homes?&, Sells? The transition to San Paolo? The 21^st-century, political activity, homes, reunions? The songs and musical score?
4. The happy beginning, the sun, the water, swimming, the beach, the family, happy scenes at home? Rubens, his past career, on the left, exile and returned, his activities, keeping in touch with families of exiled letterwriters? Eunice, cheerful, in the house, her children, the oldest daughter and her studies, going to England? The older daughters? The children, Marcella and his vitality? The range of friends, dinners, meetings?
5. The youngsters in the car, pulled over by the police, suspects, the rough treatment? Indication of themes to come?
6. The intrusion into the house, the taking of Rubens? The taking of Eunice, of
7. ear? The prison, the cells, dark, squalor? Eunice, the bewilderment, the interrogations, the fierceness of the interrogators? Some support from the sympathetic guard? The daughter, interrogation, about home? The books are photos, Eunice and her going over them, identification, her quest for her husband, her being let go?
8. The aftermath of the arrest, the agents in the parked car outside the house, Eunice going out to confront them and their driving away? The contact with her friends, trying to get information, trying to get money from the bank and the need for her husband’s signature, gradual Revelation about the network for helping exiles? The support of friends, inability to help?
9. The decision to leave Rio, to go to San Paolo, the reaction of the daughters, Marcella, the emptying of the house? Driving away?
10. The strong characterisation of Eunice, in these situations? The portrait of the daughters, Varo and her going to London, communications, her return? The other daughters, is Lani and not wanting to leave Rio, the young children?
11. The passing of time, Eunice and her going back to study, her achievements, political involvement, the family grown up, having their own families, the meetings, the honouring of Eunice?
12. Her old age, dementia, her presence, the family gathering around her, the tributes, her smile?
13. The next generation, Marcella, his accident, his family, writing the book?
14. The tributes during the final credits, information, images? Portrait of a strong Brazilian character, female leadership?