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At the 2025 Oscars
A mother is forced to reinvent herself when her family life is shattered by arbitrary violence during the brutal repression of the military dictatorship in Brazil in 1971. Selected by the Brazilian Academy of Cinema to compete for the award for Best International Film. Eunice Paiva: Marta, you have to help me. My husband is in danger! Marta: Everyone is in danger, Eunice. Featured in Mais Você: Episode dated December 3, 2024 (2024).
before the storm
A Festa do Santo ReisWritten by Leo Maija (as Marcio Leonardo)Performed by Tim Maija. Ainda Estou Aqui's greatest strength lies in its use of memory not as a passive recollection of the past, but as an act of resistance to preserve the dignity and identity of people who have been brutally silenced. By revealing the faces, names and humanity of those whose lives were cut short by the dictatorship, Valters Salles transforms memory into a manifesto of justice. From the beginning, we see Selton Mello in a sensitive and powerful performance, almost like a breath of tenderness. He gives life to a loving father, a man who soon becomes the epicenter of the pain that seeps into every corner of the house. The house that was once bright, full of laughter and everyday life, is now closed by curtains, with the constant presence of strangers and the watchful eyes of military officers.
It is a pain that exists without fanfare, that rusts without screaming, and this restraint makes it all the more devastating
Walter Salles transforms the absence of Rubens Paiva into an invisible image, while the family begins to live in a routine strangled by external fears. And it is Fernanda Torres who gives body and soul to this story; she embodies a living resistance that the dictatorship will never be able to take away: the fierce desire of a woman to restore what has been destroyed, to keep alive the flame of history that belongs to her. Eunice Paiva, faced with the loss of her husband, the invisible violence of silence, the systematic erasure of life, finds strength in the ruins. Fernanda portrays her as a woman who, in her silent struggle, refuses to let horror prevail over memory, to let emptiness triumph over love. Eunice Paiva is a character who is both moving and disturbing, because as a spectator we remain attentive, we expect dramatic explosions, unrestrained tears, grandiose gestures that we are used to seeing in melodrama, but Eunice's pain does not manifest itself as such. It is there, buried deep down, engraved in her soul, supported by a quiet strength that will not let it overflow, the love of her children.
Alzheimer's in Ainda Estou Aqui is neither accidental nor superfluous
The scene where Fernanda eats ice cream with her daughters, trying to project a happiness that no longer exists, is brilliant. At the end of the film, when I was already in shock, the epilogue reveals Fernanda Montenegro. Just the first movement of her eyes and I was stunned. What Montenegro conveys without a word at that moment is masterful. She shows on screen the strength of a woman who refuses to let the past fade away, keeping photographs, newspaper clippings, dates and notes not only for herself, but also to ensure that memory survives any attempt at erasure – even its own erosion. The 35mm cinematography is subtly "Walterian" poetic but raw, capable of being aesthetic without stealing the scene.
The absence of a dramatic score is a bold and effective choice, trusting in the already existing drama that pulses in pauses, glances and breaths
The sound design is infused with planes, gunshots and the distant rumble of military vehicles, suggesting a constant terror and the invisible control imposed by the dictatorship. The editing is precise, respecting without haste the rhythm of mourning, and the script – sensitive and powerful – allows the actors to shine, letting pain and love resonate through dialogues of precise intensity.
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