I’m Still Here has made history by winning the Oscar for Best International Film, becoming the first Brazilian film ever to win this prestigious award. The film, directed by Walter Salles and starring Fernanda Torres, is a political drama based on the true story of Eunice Paiva, whose husband, Rubens Paiva, was disappeared and murdered during the military dictatorship in 1970s Brazil.
The film faced stiff competition from several strong contenders, including the Danish true-crime story The Girl With the Needle, the Iranian legal drama The Seed of the Sacred Fig, and the trans gangster musical Emilia Pérez, which had been a favorite to win. Despite this tough lineup, I’m Still Here triumphed, securing its place in Oscar history.
Salles, a previous nominee for Best International Film for his 1998 drama Central Station, dedicated the win to Eunice Paiva, as well as to the two women who gave life to her story: Fernanda Torres and Fernanda Montenegro, the latter being Salles’ co-star in Central Station and an Oscar nominee for her role in that film.
I’m Still Here’s Journey to the Oscar
The film has received critical acclaim and several prestigious awards, including Best Screenplay at the Venice Film Festival and the Audience Award at the Rotterdam Film Festival. Torres, the daughter of the legendary Fernanda Montenegro, has garnered significant praise for her performance, further elevating the film’s international reputation.
In his acceptance speech, Salles expressed his gratitude for the opportunity to bring Paiva’s story to life, emphasizing the emotional and historical weight of the film. He spoke of the film’s importance in shedding light on a traumatic chapter of Brazilian history, particularly the stories of families affected by the brutal military dictatorship.
Controversies Surrounding Emilia Pérez
It is believed that I’m Still Here may have benefited from the difficulties faced by Emilia Pérez. Leading up to the Oscar nominations, Emilia Pérez was a favorite, but its campaign was marred by controversy after bigoted posts were discovered on Karla Sofía Gascón’s social media feed. Additionally, there were complaints about the film’s portrayal of Mexico and its history, further diminishing its chances in the race.
This win marks a major milestone for Brazilian cinema, highlighting the country’s growing influence in international filmmaking and its ability to tackle sensitive and important historical topics with artistic brilliance.
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