Tired of losing, Walter Salles decided to win this time
"Tired of losing, Walter Salles decided to win this time. In I’m Still Here, the Brazilian director crafts a deeply emotional and politically charged film that confronts loss, resilience, and transformation. Based on Marcelo Rubens Paiva’s biographical book and brought to life through a screenplay by Murilo Hauser and Heitor Lorega, the film is anchored by powerhouse performances from Fernanda Montenegro, Fernanda Torres, and Selton Mello. Salles doesn’t shy away from the harsh realities of life—he puts a dog in the story and kills the dog; he introduces a husband and takes him away, a victim of the Brazilian civil and military dictatorship. The film is populated with the faces of children, their innocence juxtaposed against the weight of their circumstances. Through poignant scenes of families moving from one home to another, Salles masterfully transforms spaces of life into hollow, empty rooms, mirroring the emotional voids left behind.
Selton Mello
At the heart of the film is a woman, portrayed with gripping intensity by Fernanda Torres, who evolves from a housewife into a fierce leader, demanding accountability from the Brazilian government for the kidnapping and killing of her husband during the dictatorship. Her fight for justice becomes a rallying cry, as she challenges the state to recognize its responsibility and honor the memory of those who were silenced. Her journey is interwoven with tender moments of reflection, as she flips through old photo albums, reliving memories of happier times. Salles’ storytelling is both intimate and expansive, capturing the personal and the political with equal force.
The photography is stunning, a testament to Salles’ collaboration with Conspiração Films, a production company that truly knows how to deliver. The visuals are rich and evocative, enhancing the film’s emotional and thematic depth. However, the sound design oscillates between moments of brilliance and moments of doubt. There are standout sequences, like the haunting echo in the empty house, which amplifies the sense of loss and absence. Yet, there are also questionable choices, such as the foley work that misrepresents the sound of a car, failing to match the distinct rumble of a Volkswagen. These inconsistencies, though minor, occasionally pull the viewer out of the otherwise immersive experience.
As someone from a family of five children, I found Salles’ portrayal of an upper-middle-class household in Rio de Janeiro strikingly accurate. He captures the dynamics of such families with remarkable precision, including the often-overlooked role of domestic helpers. In Brazil, it’s common for families like mine to have one or more helpers who live in the house, becoming an integral part of daily life. The film poignantly shows how these helpers continue to work even when they are no longer paid—a detail that might seem unbelievable to some but is painfully true. This aspect of the story adds another layer of authenticity, reflecting the complex social fabric of Brazilian society.
To bring this vision to life, Salles enlisted some of the best technical talents in the industry, ensuring the film’s visual and emotional power is matched by its craftsmanship. With a strong distribution partner, the film reached audiences beyond Brazil, including the competitive U.S. market, and earned a place on the global stage at prestigious festivals like Cannes. I’m Still Here is not just a film—it’s a statement, a testament to Salles’ determination to create something unforgettable and to shine a light on the enduring scars of Brazil’s past."
