I’m Still Here marks the long-awaited return of Brazilian auteur Walter Salles, his first feature in 12 years and 16 years since his last Brazilian film. Known for acclaimed works like The Motorcycle Diaries and Central Station, Salles once again turns his lens to a deeply personal story set against a backdrop of political turmoil. The film follows Eunice Paiva, whose husband Rubens is kidnapped during Brazil’s military dictatorship in the 1970s. Left to raise five children while navigating the oppressive regime’s threats, Eunice transforms from a mother desperately searching for answers into an activist and lawyer fighting for justice.
The film shines brightest when exploring the personal toll of these events. The opening scenes immerse us in the vibrant daily life of the Paiva family—joyful beach outings, lively celebrations, and tender household moments. Salles creates a sense of warmth and normalcy, subtly punctuated by the looming shadow of military control, like the ominous passing of unmarked cars. This slow build heightens the tension, making the eventual home invasion and kidnapping of Rubens both shocking and heartbreaking—arguably the film’s most powerful moment.
From this turning point, the focus narrows to Eunice, brought to life with extraordinary depth by Fernanda Torres. Torres delivers one of the year’s standout performances, capturing Eunice’s quiet resilience and vulnerability with masterful nuance. Her portrayal balances the facade of strength she must maintain for her children with the moments of private anguish she experiences when alone. It’s a performance that anchors the film, resonating with emotional authenticity and leaving a lasting impression.
The decision to frame Brazil’s military dictatorship through the lens of one family’s experience proves to be an effective choice, offering an intimate perspective on a dark chapter of history. However, for viewers less familiar with the broader historical context, the film could have benefited from providing a clearer sense of the larger stakes beyond Eunice’s immediate struggles.
While the first half is gripping and emotionally resonant, the second half doesn’t quite maintain the same momentum. As Eunice’s search for answers intensifies, the narrative settles into a repetitive rhythm of institutional visits and frustrating dead ends. While this approach emphasizes the oppressive reality she faces, it limits the emotional evolution of her character. Subtle visual cues, like the house gradually becoming emptier as hope fades, add poignancy, but the film misses opportunities to delve deeper into Eunice’s escalating despair and transformation.
By the time the story reaches its concluding time jump, some scenes feel overly constructed and don’t fully land the emotional impact they strive for. That said, these missteps don’t overshadow the film’s core strengths. I’m Still Hereremains a poignant and significant work, anchored by Torres’ remarkable performance and Salles’ thoughtful direction. It powerfully illustrates the devastating effects of dictatorship on one family, offering a moving portrait of resilience and courage during one of Brazil’s darkest periods.