Brazil’s *I’m Still Here* (original title: *Ainda Estou Aqui*), directed by Walter Salles, made history on March 2, 2025, by winning the Oscar for Best International Feature Film at the 97th Academy Awards. This victory marks the first time a Brazilian film has claimed this prestigious award, a significant milestone for the country’s cinema, which has long sought global recognition despite a rich filmmaking tradition. Below is an analysis of this achievement, considering its cultural, historical, and cinematic significance, as well as the context of the win.
Historical Context and Significance
Brazil has submitted films for the Best International Feature category (formerly Best Foreign Language Film) since 1960, amassing five previous nominations before this win: *Keeper of Promises* (1962), *O Quatrilho* (1995), *Four Days in September* (1997), and *Central Station* (1998), the latter also directed by Salles. Despite these efforts, Brazil had never secured a win until *I’m Still Here*. This triumph is not just a cinematic achievement but a cultural breakthrough, reflecting a growing international appetite for diverse narratives and Brazil’s ability to tell universally resonant stories rooted in its specific history.
The film is adapted from Marcelo Rubens Paiva’s 2015 memoir and centers on Eunice Paiva, portrayed by Fernanda Torres, whose husband, Rubens Paiva—a former congressman and critic of Brazil’s military dictatorship—was abducted and killed in 1971. His disappearance, one of many during the dictatorship that ruled from 1964 to 1985, left Eunice to raise five children alone while tirelessly seeking justice. The story’s backdrop of authoritarian repression and personal resilience struck a chord with audiences, especially in Brazil, where the legacy of the dictatorship remains a sensitive and partially unresolved trauma. The win coincides with a period of reflection in Brazil, following the polarizing presidency of Jair Bolsonaro (2019–2022), whose tenure revived debates about democracy and authoritarianism, making the film’s themes eerily relevant.
Cinematic Achievement
Walter Salles, a towering figure in Brazilian cinema known for *Central Station*, *The Motorcycle Diaries*, and *City of God* (as producer), returned to feature filmmaking after a 12-year hiatus with *I’m Still Here*. His direction blends personal intimacy with political weight, a hallmark of his style. The film’s narrative shifts between the idyllic family life before Rubens’ disappearance and the harrowing aftermath, culminating in Eunice’s later years (played by Fernanda Montenegro) as she grapples with Alzheimer’s and the enduring absence of closure. This temporal scope, paired with a vibrant soundtrack and vivid depiction of 1970s Rio de Janeiro, creates a poignant contrast between Brazil’s cultural richness and its political darkness.
Fernanda Torres’ performance as Eunice has been widely lauded for its subtlety and emotional depth, earning her a Best Actress nomination and a Golden Globe win earlier in 2025. Her portrayal captures the quiet strength of a woman forced to reinvent herself—from homemaker to human rights advocate—amidst grief and uncertainty. Montenegro, Torres’ real-life mother and a Brazilian acting legend, complements this with a brief but powerful appearance as the elderly Eunice, linking the film to Salles’ earlier Oscar-nominated work *Central Station*. The casting of this mother-daughter duo adds a layer of authenticity and familial continuity, enhancing the film’s emotional impact.
The Oscar Win: Competition and Reception
*I’m Still Here* faced stiff competition in the Best International Feature category, beating out notable contenders like France’s *Emilia Pérez*, Denmark’s *The Girl with the Needle*, Germany’s *The Seed of the Sacred Fig*, and Latvia’s *Flow*. *Emilia Pérez*, a musical crime drama with 13 nominations (the most ever for a non-English film), was initially favored to win, buoyed by four Golden Globe victories. However, its momentum faltered after controversy surrounding star Karla Sofía Gascón’s past offensive social media posts, which may have shifted voter sentiment. In contrast, *I’m Still Here* gained traction late in the race, bolstered by Torres’ compelling awards campaign and the film’s resonance with Brazil’s contemporary political climate.
The film’s Oscar win was met with jubilation in Brazil, coinciding with Carnival celebrations. Streets erupted with revelers honoring Torres and Salles, some clutching replica Oscar statuettes. President Luiz Inácio Lula da Silva praised the victory on X, calling it a moment of pride for Brazilian cinema and democracy. At the Dolby Theatre, Salles’ acceptance speech—dedicating the award to Eunice Paiva and the “extraordinary women” Torres and Montenegro—earned a standing ovation, underscoring the film’s emotional and historical weight.
This win signals a shift in the Academy’s recognition of international cinema, part of a trend since *Parasite*’s 2020 Best Picture victory. *I’m Still Here* also secured nominations for Best Picture and Best Actress, a rarity for non-English films, highlighting its crossover appeal. While it didn’t win Best Picture (a highly competitive category with frontrunners like *The Brutalist* and *Emilia Pérez*), its presence there marked a historic first for Brazil, suggesting that Brazilian stories can transcend the “international” label and compete on the global stage.
The film’s box office success—$18.5 million in Brazil and $30 million worldwide on a $1.5 million budget—further demonstrates its domestic impact, breaking records and sparking national conversations about the dictatorship’s legacy. For Brazil, a country of 200 million whose culture is often overshadowed internationally by American, European, or Asian narratives, this Oscar is a validation of its storytelling prowess and a call for greater global engagement with its history and art.
Critical Analysis
While *I’m Still Here* excels in its performances and emotional authenticity, some might argue its conventional storytelling lacks the bold innovation of competitors like *The Seed of the Sacred Fig* or *Flow*. Its strength lies in its specificity—unflinchingly Brazilian yet universally human—rather than in stylistic experimentation. Critics could also note that its Oscar win might owe as much to timing and sentiment as to cinematic superiority, given the Academy’s increasing openness to non-English narratives and Brazil’s overdue moment in the spotlight.
In conclusion, *I’m Still Here*’s Best International Feature win at the 2025 Oscars is a landmark for Brazilian cinema, blending historical reckoning with artistic triumph. It elevates Salles, Torres, and Montenegro as global ambassadors of a nation eager to share its stories, proving that resilience in the face of tyranny is a narrative worth celebrating.
The Hotspotorlando News
photo by GoldDerby/Reuters