Peace, Interrupted – ‘I’m Still Here’
The true story nominated for three Oscar’s hit major cities last month, and will see a wide U.S. release on February 14th
“I’m Still Here” opens with a shot of Eunice Paiva (Fernanda Torres) quietly letting her body float in the salt water. She occasionally dips her ears under to silence the world, and the camera sways with her, submerging underwater when she does and bobbing above the surface in perfect, peaceful coordination. This tranquility is violently broken by the noise of a combat helicopter overhead, one that reminds those on the beach of the looming military dictatorship that dominates their lives.
“I’m Still Here” is the true story of the Paiva family struggling to survive the oppressive Fifth Brazilian Republic. After Rubens Paiva (Selton Mello), a former congressman and current patriarch, is mysteriously taken by strange government henchmen, his wife Eunice is tasked with holding together her family of five children along with her stability. Beginning in 1970 Rio de Janeiro and leading all the way to 2014 São Paulo, the film follows how the family fights, grows, and mends, all while under the boot of a government which surveils and encroaches on them.
Director Walter Salles, known for films such as “Central Station” and “The Motorcycle Diaries,” was not only present in Rio during the dictatorship, but also happened to know the Paivas personally. After Marcelo Paiva (Guilherme Silveira/Antonia Saboia), the only son of Eunice and Rubens, wrote the story of his family in 2015, Salles worked with him to properly adapt the book into a feature film.
Despite Marcelo being only 10 years old when his father was abducted, the film excels in presenting the audience with a first hand account of the events. While Marcelo did not witness much of what the film depicts, his mother works as something of a ghost writer, passing down her experiences to him.
But what truly steals the show in “I’m Still Here” is Fernanda Torres’ rightfully Oscar-nominated performance of Eunice Paiva. When Eunice is unexpectedly thrown into the role of head of the family — and protagonist of the movie — the actor and character simultaneously become the glue that holds together both the home and the film as a whole. Torres’ understated approach to the character comes off as very restrained and genuine, with large shows of emotion only emanating in select moments. At times where a lesser performer may overact Eunice’s bravery or strength, Torres stays humble, balancing Eunice as both a victim and a hero.
Aside from the fact that Adrian Teijido’s cinematography shines throughout the film, the occasional use of found footage creates a rich feeling of nostalgia. Eldest daughter Vera (Valentina Herszage) films certain experiences with a handheld Super 8 film camera. Vera’s loose, playful camerawork is generally shown in times of peace among the family. These moments enhance the concept that the film is a collection of raw memories, specifically when the 1970s footage is watched by a sentimental Eunice in 1996.
In addition to the camera techniques used, the lush color scheme of the film is uniquely intertwined with the emotional impact of Rubens’ disappearance. The colors yellow and blue have a metaphorical battle for the screen throughout the runtime. The first act of the film is characterized by the comforting yellow tint, as most of these scenes are simply the family enjoying each other’s presence. But when the home is invaded by Rubens’ kidnappers, they close the window shades, replacing the yellow glow of the house with a bleak navy. This navy is the defining color of the following acts, although viewers may notice some hopeful glimpses of brighter colors towards the end of the film.
Another resounding success of “I’m Still Here” is its ability to emotionally develop locations in the film as if they are characters. The Paiva home, which practically glows in celebration of the family’s presence, presents a beautiful, open expanse for characters to relish in. But when times are hard on the family, these same rooms feel desolate and unwelcoming, and the previously gorgeous hardwood floors have suddenly become dreary and sunless. But a location that remains consistent throughout the film is the Rio De Janeiro beach. “To rest I have to be at the beach,” Eunice explains to her daughter years after moving to São Paulo. The beach, where the yellow Brazilian sand meets the dark blueness of the Atlantic, serves as something of a sanctuary for Eunice, the only place where she can find tranquility. Without her husband, her only sense of security lives at the beach.
Reminiscent of other recent foreign successes such as Alfonso Cuarón’s “Roma” or Santiago Mitre’s “Argentina, 1985,” Walter Salles masterfully blends a political drama with an emotive story of a relentless family. Through deeply genuine performances and an expertly crafted screenplay, “I’m Still Here” made history by becoming the first Brazilian movie to be nominated for Best Picture at the Oscars. The story of the Paiva’s is as culturally relevant as it is moving, and “I’m Still Here” is able to shed a beautiful, golden light on their inspiring perseverance.