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“I’m Still Here” is not the first film that writer/director Walter Salles has made about the consequences of living under a military dictatorship, as his personal politics have become an inseparable aspect of his identity as an artist. Salles’ films have all been highly specific in calling out the evils of fascism and militarism, but that does not mean his work should generally be classified as some form of protest art.
Salles is a humanist, which is perhaps why he is so adamant about recognizing political structures in which power is not concentrated. “I’m Still Here” is perhaps not revolutionary in its topic of interest, but considering that Salles is one of the few living filmmakers who is so open about the necessity of addressing the past, it is just as critical to his arc as a storyteller as career highlights like “Dark Water” and the Oscar-nominated “The Motorcycle Diaries.”
“I’m Still Here” is certainly loaded with a lot of information about the state of Brazil in the 1970s that may be informative to those not well-read on South American history. However, it is at its heart a family drama, albeit one that is fractured by a fraught political instance that turns a stable household into a vulnerable one. Like many of Salles’ past masterpieces, “I’m Still Here” explores the macro through the micro; it’s a story about a nation crumbling under the weight of rampant corruption and violence, yet is filtered through the ways in which it impacts one specific household.
Set amidst the dominance of the Brazilian Armed Forces in the 1970s, “I’m Still Here” centers on the loving father, Rubens Paiva (Selton Mello), who also serves as a popular congressman in support of the Brazilian Labor Party. Rubens’ love of his country is only surpassed by his dedication to his family, as he raises five children with his wife, Eunice (Fernanda Torres). Although Rubens is an unshakeable optimist who truly believes that his country will eventually find its way to give back to the people, he suddenly disappears in what is assumed to be part of a conspiracy, and potential murder. As life spirals out of control, Eunice tries to hold her family together as she searches for answers about the open secret of her husband’s abrupt absence.
To call “I’m Still Here” a traditional biopic would do it a disservice, as Salles crafts a structure that is so much more involving than a standard recitation of facts and dates. “I’m Still Here” recognizes that the most meaningful parts of history aren’t always the ones that need the spotlight in a narrative; instead, a film must focus on ensuring viewers feel connected to the people it portrays.
Details about the Paiva family’s adventures on the beach, favorite songs, and family dinners aren’t the type of personal insights that are necessarily critical to understanding the significant change in Brazilian politics towards the second half of the 20th century. However, they are essential to making this family unit feel approachable, which makes the crushing weight of Rubens’ exit from the story even more impactful.
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The merit “I’m Still Here” has as a family story holds a particular amount of resonance because the production itself is quite familial; Fernanda Montenegro, who famously earned an Academy Award nomination for her work on Salles’ 1998 road drama “Central Station,” appears as an older version of Eunice, who is of course portrayed in earlier scenes by her real-life daughter.
There’s an obvious consistency of character that comes with casting a real mother-daughter duo as the same person, but it’s particularly relevant in a film like “I’m Still Here” which is expressly about the passage of time. More cruel than any specific instance of violence in the film is the devastating lack of answers, as Eunice is never given the dignity of being able to bury her husband.
Torres delivers a remarkable performance, capturing Eunice’s character with depth as she shoulders the added responsibilities of being her household’s primary caregiver. Checking up on her children, all whilst investigating the events that led to her husband’s death leaves her with little room to reflect on her own sense of loss. The active nature of her personality is certainly what gives “I’m Still Here” such an electrifying sense of pacing. At 135 minutes, there’s barely a moment to wind down. However, Salles does give enough room to show the effects of Eunice’s overexertion; she’s someone who is so driven to find solutions because nothing is more harmful to her mental health than withering in a cocoon of her own despair.
“I’m Still Here” is so finely written that it’s easy to forget what a technical marvel it is. Between a gorgeous, melodic score by Warren Ellis and some intimate shots showing the depth of Brazil’s living spaces, Salles makes it clear that the film isn’t just a window into the people’s suffering, but a celebration of their collective spirit and achievements. Eunice is a character that certainly embodies this, as her resilience is derived from a genuine belief that someone should care about those who have been lost. This reveals Salles’ motivation for the film, as Eunice’s character is driven by a determination to prevent history from being erased.
“I’m Still Here” does get poetic by the end – a means of passing through jumps in time to wrap up what happened to each of its primary subjects. While this could have felt mawkish or incongruous with the approach up until this point, the film takes such a reflective look at history that it never feels like an abrupt attempt to appease the audience by providing answers. The film is just as cathartic as it is heartbreaking, serving as the rare historical drama that manages to be both infuriating and inspiring at the same time. Cynics may have feared that Salles had lost his way after “On the Road” debuted to a more mixed response in 2012, but “I’m Still Here” confirms that he is still at the height of his talents.
