The only Brazilian film I had seen before this one was City of God, and I honestly consider the 2002 crime thriller one of my favorite films outside the English-speaking world. So when I’m Still Here (or Ainda Estou Aqui in its native Portuguese) received nominations for Best Picture and Best Actress for Fernanda Torres, I was immediately intrigued. Given my limited exposure to Brazilian cinema, I was eager to see how this film measured up.
Set against the backdrop of Brazil's military dictatorship in the 1970s, I’m Still Here follows the disappearance of a former congressman, exploring the emotional and political fallout through the perspective of his wife, who desperately searches for answers. The film paints a harrowing portrait of life under an oppressive regime, making the personal struggles of its characters feel both intimate and universally resonant.
Since the film only received its UK release in February 2025, it technically counts as a 2025 release for me. I was disappointed that I didn’t get the chance to see it before the Oscars, but I was thrilled when it won Best International Feature, as that heightened my anticipation. Now that I’ve finally seen it, here are my thoughts.
The film effectively explores its historical context, making it accessible to international audiences unfamiliar with Brazil’s past. Based on the book by Marcelo Rubens Paiva, the screenplay presents a deeply personal yet politically charged narrative. The story follows a family’s struggle to cope with the loss of its patriarch while navigating a time of immense turmoil. The emotional weight of the wife’s journey is palpable, and the film succeeds in capturing the pain and uncertainty of those who lived through that era.
That said, I found the pacing a bit slow in places. While I understand the need to fully immerse the audience in the protagonist's sorrow and frustration, some moments felt unnecessarily drawn out. Still, the deliberate pacing allows the gravity of the story to sink in, making it a worthwhile trade-off for the film’s emotional impact.
Visually, I’m Still Here is striking. Walter Salles brings a distinct aesthetic to the film, capturing the era with authenticity. The cinematography is composed of beautifully framed shots that enhance the film’s emotional depth. The color grading gives it the appearance of a film from the 1970s, making the historical setting feel more immersive. One of my favorite stylistic choices was how the film’s visuals subtly evolved over time. When the story flashes forward to later years, the picture quality improves, symbolizing a transition into a more modern era. This was a clever way to reflect the passage of time both narratively and stylistically.
The editing also plays a crucial role in making the story easy to follow. Despite its non-linear approach, the film flows smoothly, ensuring that viewers can stay engaged without confusion.
Fernanda Torres delivers a compelling lead performance, carrying the emotional weight of the film with grace and conviction. While I wouldn’t rank her performance alongside some of my all-time favorites, she still stands out as a powerful presence that drives the film forward. Her portrayal of grief, resilience, and quiet determination makes her character deeply relatable.
Adding to the film’s emotional depth, Torres’ real-life mother, Fernanda Montenegro, makes a poignant cameo as the older version of her character in the present-day sequences. Seeing these two accomplished actresses share a role added an extra layer of authenticity to the film’s generational themes.
Selton Mello also deserves praise for his portrayal of the missing congressman. Despite his limited screen time, his presence lingers throughout the film, making his character’s disappearance feel all the more impactful. His performance in the early scenes ensures that the audience feels the weight of his absence throughout the rest of the story.
Overall, I’m Still Here is a beautifully crafted film that stands as a testament to the strength of Brazilian cinema. The screenplay, direction, cinematography, and performances all come together to create a powerful viewing experience. While I found the pacing somewhat slow at times, I still deeply appreciated the film for telling an important and necessary story.
I give I’m Still Here a solid 4 out of 5 stars (8/10). While City of God remains my favorite Brazilian film, I enjoyed this far more than Emilia Perez. It’s a deserving Oscar winner and a film that will likely stay with me for a long time.
What did you think?
Loved it
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