Director: Walter Salles
Writers: Murilo Hauser, Heitor Lorega
Stars: Fernanda Torres, Selton Mello, Fernanda Montenegro
Synopsis: A mother is forced to reinvent herself when her family’s life is shattered by an act of arbitrary violence during the tightening grip of a military dictatorship in Brazil, 1971.
Human history, recent and ancient, is full of stories. Untold stories that, regardless of location, have the ability to pull on our heart strings and change our perspective. Many might feel that, when faced with stories of authoritarian regimes, they have seen and heard everything possible. As with all things film, the perspective and style is what matters, even if it is well trodden ground on its surface. So, although you may have seen stories of forced disappearance through governmental force, I promise you that you have not seen the version shown by Walter Salles’ I’m Still Here, and you certainly have never seen anything close to the performance of Fernanda Torres.
Ostensibly, I’m Still Here is about the disappearance of Rubens Paiva (Selton Mello), former Congressman of the Labour Party in Brazil. But to describe the plot of this film as simply a political disappearance is not only a misreading, but also a drastic understatement of what the audience will experience. The politics are mentioned, but it is not nearly as important as the humanity witnessed. The first quarter of the movie, from a screenplay by Murilo Hauser and Heitor Lorega (based on Marcelo Rubens Paiva’s book, “Aindo Estou Aqui,” does not detail the rise of Paiva politically. Instead, the choice is made to focus on the family unit. Rubens and Eunice Paiva (Torres) build a romance for the ages in this short time, which forces us to feel her pain when he is taken. Additionally, the focus on their parenting of their five children, including decisions on pet ownership and education all feel deeply genuine. There could be an entire film just based on these relationships, and this makes the turn the film must make all the more heartbreaking.
Interrupting this familial bliss are nameless men who work for the Brazilian government. They come armed with weapons but never use them, the presence being enough to accomplish their goals. First, Rubens is taken, leaving Eunice home to deal with her passive captors and her own children. Eventually Eunice and one of her daughters are taken as well. This is where Torres, already heartfelt, kicks into high gear. She is assisted by the cinematography of Adrian Tiejido. The film uses not only subtle camera movements, but also delineates memory from the current moment by use of film stock. The camera follows Torres patiently, mirroring what she must be as the plot moves forward. Truly, it is not the kind of performance that is expected given the high drama. It would be easy to go too big or too small. To scream at her captors or to become totally enveloped by the emotion inherent in the situation. This is, instead, a measured, beautiful performance in which she manages to make us feel her fear and panic but never veers into melodrama. We watch her, in moments, crumble. But then, we are allowed to see her put on the mask of calm for her family. These moments consistently intersect and, without excessive amounts of dialogue, let the audience in on the intimate intricacies of her pain.
But I’m Still Here does not stop there, which would be a simpler, easier to digest story. A simple (but tragic) story about a husband and a father being ripped from an idyllic family setting. The movie shifts into a tale of pure love and determination. Although less violent, the story of what happens after he disappears is worse. With no evidence to support his kidnapping or possible death, what does a family do? The film tackles both the emotional and the logical issues that arise. The panic and sorrow of the Paiva children holds as much weight as how Eunice must handle financial struggles and governmental red tape. There is also a distinct lack of perfection in how Eunice moves forward. It would be simpler to paint her as a saint who simply does the exact right thing. She has her own struggles and mistakes, all shown through Fernanda Torres, giving the performance of a lifetime.
And that is what I’m Still Here gives us: a lifetime. Imperfections, difficulties, unfairness, relief and love. All in the lifetime of a family’s struggles. When we live through horrific times, all we can do is what is right for us, for our families. Eunice is not perfect, and she shouldn’t have to be. The film allows the audience to look both forward and back, providing both rage and hope. Given the times we are in, it is both a warning and a reminder. A warning for what our futures can bring and a reminder of what is important.