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.
Chuck says:
On January 20, 1971, former Brazilian congressman Ruebens Paiva was taken from his home by authorities. He was told he needed to answer some questions pertaining to a deposition.
His wife and five children never saw him again.
Walter Salles’ “I’m Still Here” recounts this event, as well as his wife Eunice’s efforts to find him. It’s a harrowing film that, in light of current affairs, its meaning and purpose becomes more dire and impactful. At times arresting, the movie has a noble intent, yet ultimately sags under the weight of its story, its urgency somewhat undercut by its length.
Based on the book by Ruebens’ son, Marcelo, the script by Murilo Hauser and Heitor Lorega eases us into the Paiva’s world. Their liberal household plays host to a tightly knit group of liberal artists and activists. Assembling regularly to discuss the latest cultural happenings or simply revel in the company of kindred spirits, they camaraderie seems bred from their outsider status. And while they are aware of the vagaries of Emilio Medici’s dictatorial regime, they quietly bide their time, until a democratic change can occur.
So, it comes as a surprise when Ruebens (Selton Mello) is taken, an event that leaves his wife Eunice (Fernanda Torres) shaken, but defiant. After two days, she demands answers, only to have herself and her 15-year-old daughter Eliana (Luiza Kozovski) taken in for questioning. The result is a one-week ordeal in which the mother is deprived of sleep and information, tortured and harangued. Instead of breaking or dissuading her, this only pushes Eunice to find some answers.
What ensues is a 25-year struggle, one fraught with setbacks and hurdles. Over the course her ordeal, Eunice strives to establish some sense of normalcy for her children. Putting on a brave face, she helps them get through school, while maintaining a seemingly normal social life. Yet, all the while, Ruebens’ absence weighs on them all, exacerbated by the realization some of their friends have abandoned them. Ultimately, they move to Sao Paulo in the hopes of getting a fresh start while providing Eunice with a more open environment in which to conduct her search.
The recognition Torres has garnered for her performance is richly deserved. Conveying Eunice’s fear, anger and ultimately, resignation, the actress’ conviction is felt throughout. Her sincerity puts the viewer in her character’s shoes, allowing us to feel her pain and, whether we like it or not, the sense of fear and helplessness that befell the Paiva’s and so many other during this era. For the viewer, it proves to be a moving, harrowing vicarious experience.
Salles became acquainted with the Paiva’s at a young age and credits them with helping him form his artistic and activist sensibility. As such, it stands to reason he would want to tell Ruebens and Eunice’s story in its entirety, a commendable approach. However, it ends up being a rather daunting task, dramatically. Meticulously rendered, its last hour drags as the repetition of Eunice’s struggle takes a toll on the story, its dramatic urgency draining away with each setback.
Perhaps that is an insensitive criticism. To be sure, “Here” is a tragic, timely story one that comes freighted with a necessity to be told. Salles’ conviction to it and the Paiva family is admirable. However, in the end, I wish it were constructed in a way that its impact had left me more shaken.
3 Stars
