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
Pam says:
It’s Brazil, 1971. A time of political unrest as democracy is more than threatened, it’s gone. A military dictatorship has begun its rule and the citizens who challenge it will pay the price. This is the true story of Rubens and Eunice Paiva as they and their family fall under watchful eyes and fall victim to tyranny.
Fernanda Torres stars as Eunice Paiva, the dutiful and loving wife of Rubens, a successful engineer with a political past. Living a luxurious life on the sea with their five children, there’s an element of secrecy hinted at as Rubens takes phone calls and deliveries unquestioned by his wife. With the feeling of a shoe about to drop at any moment, one finally does as a knock on the door reveals a group of militants taking Rubens for questioning followed by the same for his wife and daughter. It’s a harrowing tale of what happens when our rights are taken away and we fear to speak up.
This film is nominated for multiple awards including an Academy Award for both Best Motion Picture and Best International Feature as well as Best Performance for Torres, all well-deserved, in my opinion. The tension that’s built during every scene as we get to know this family is palpable. Veroca (Valentina Herszage), the eldest daughter of the four, is outspoken and sees the world in which they live. Eliana (Marjorie Estiano), Marcelo (Guilherme Silveira), Babiu (CoraMora) and Nalu (Barbara Luz) create this family of siblings that is at once believable. It’s a beautiful relationship among them all and individually we see the love as they experience everyday activities. Intermittently, however, we get a hint that all of this is about to end, but by that point in the film, we have already grown attached to each of the characters.
The cast is extraordinary as I never questioned whether or not this was a real family. Their interactions, from the silliest detail to the dramatically large, are authentic. (Dog lovers beware that there is a tragic scene.) Marcelo is the adorable goofball little brother amidst a sea of sisters and Nalu is clinging onto her childhood, seemingly having prescient knowledge of what lies ahead. And Rubens, a protector of the family as well, is the dad every family wants; takes time with his kids, knows them, loves them. We, too know and care for this entire family, fearing for what might be on the horizon.
The story is a captivating one, if not terrifying at times, and while watching the actions of Eunice through the eyes of a mother, I questioned her decisions, but I remind myself that this is not fiction; it is based upon the actions and reactions of the Paiva matriarch who attempted to protect her children in extreme situations. As the days, weeks, and months pass, we see that her intellect, love, and most importantly, her resiliency sets the foundation to influence not only her children’s lives, but the world as a whole.
“I’m Still Here” eloquently captures an important yet unknown story telling it at a pivotal time in our own history. Powerfully directed with expressive acting make this a film worthy of all its nominations.
4 Stars
