The movie I’m Still Here (Ainda Estou Aqui) by Walter Salles, set in Brazil in 1971, is based on Marcelo Rubens Paiva’s memoir about his mother, Eunice Paiva.
The true story follows a mother of five whose life was upended when her husband, former congressman Rubens Paiva, “disappeared” after being arrested by the military at the family’s home in Rio de Janeiro. He became one of the “ghosts of dictatorship,” a euphemism used at the time to refer to people who were murdered under torture and whose bodies were discarded.
The historical context behind the movie is the military dictatorship, just six years deep at the time of filming, with another fifteen ahead. During this time, it was common to hear reports of kidnapped diplomats and the disappearances of those who opposed the authoritarian regime, who could be students, teachers, activists, journalists, workers, artists, or even children.
“I think the purpose of literature and cinema is to remember.”
Marcelo Rubens Paiva
Today, we know of the horrors that took place thanks to the National Truth Commission, which investigated human rights violations between 1946 and 1988, in particular by the authoritarian military dictatorship that ruled Brazil from 1964 to 1985.
The spectacular acting from Fernanda Torres (Eunice Paiva), Selton Mello (Rubens Paiva), and Fernanda Montenegro (an elderly version of Eunice Paiva) resulted in the award of Best Screenwriting after its premiere at the Venice Film Festival. The hope for an Academy Award nomination can help newer generations understand such an important historical event. It is a sign that the film resonates with oppression, freedom, and dignity.
The film shows the importance of telling the horrors of historical events. These events are at risk of being erased by banning classes, materials, and books. These films fight against the past being forgotten. Newer generations must learn from the past’s mistakes so that they are not repeated.
In an era marked by increasing political division, even some of the most established democracies are witnessing a concerning rise in support for political candidates with authoritarian tendencies. These films help us recognize the need for a balanced government to protect civil rights. Additionally, it serves as a universal warning about the consequences of unchecked power and repression. For those unfamiliar with Brazil’s history of military rule, this film can serve as a gateway to understanding the costs of freedom.
In an interview with Terra, Torres states, “This movie can help us understand why democracy is vital.”
For years, the Paiva family didn’t know if Rubens Paiva was dead or alive. Besides, his death certificate was only released after 25 years in 1996, thanks to his wife, who fought for it. The film honors the resilience of those like Eunice Paiva, who spent decades demanding answers for her family’s dignity. It is a reminder that resistance against oppression is long, challenging, and often thankless, but it is the foundation upon which freedom is built.
“I think the purpose of literature and cinema is to remember,” said Marcelo Paiva, Ruben’s son. “It must have films and museums in order to be remembered and to not happen again.”
The movie is addressed to those who seek a return to oppression and rule by fear. Those who resist oppression and fear will inspire music and art to celebrate their lives and will have movies as beautiful as I’m Still Here made in their honor. You can watch I’m Still Here on Jan. 17 in select theaters.