CinemaAinda I’m here rescues the importance of telling the horrors of the Brazilian military regime to a new generation “This film can help you understand why democracy is vital,” says Fernanda Torres, star of the novelty, which opens on Globoplay on Sunday (6) by newsroom

One day the dictators will disappear in the sewage of the story, but the books and the movies will be.

The statement is Walter Salles (Central do Brasil), which recently signed its powerful contribution to the list of films about the military regime in Brazil, the applauded I’m still hereavailable in the catalog of Globe From this Sunday, April 6th.

Centered on the effect of terrifying, ubiquitous and defined military power of the military on Brazilian society from 1964 until the late 1980s, the film runs through the well -known family history Paivawho had the patriarch, the former deputy Rubens Paivamissing after being taken from home by Brazilian Army soldiers in January 1971.

“In that house, the windows were always open, and the door never had a key”says the director Walter Sallesevoking the sense of freedom present and the mix of groups of friends and political discussions that characterized the meetings that took place in the place.

Rubenslived by Selton Mello (Jean Charles, The clown), never found again. In the home, they stayed Eunice Paivainterpreted by FERNANDA TORRES (Foreign land), and their five children, including a still young MARCELO RUBENS PAIVAwho would become the author of the book of the same name that served as the basis for the script written by the Walter Salles together with MURILO HAUSER and Heitor Lorega.

After the husband’s disappearance, Eunice He finds himself alone, without the home provider, with financial difficulties and an incessant fear of the intimidating presence of the agents of the Military Army’s repression forces, who are at the lurking of his home.

The State and the Silence of Truth

Given the constant presence of this enemy surrounding the house of Paivaremains Eunice Daming feelings and hiding the truth of children. “The state imposes on her silence, a non -response about her husband’s death. And she does the same with her children, otherwise she stands in silence. I think to preserve her children’s innocence, because she was such an arbitrary act, so unfair [o desaparecimento do pai]… How to explain this to children from 9 to 18 years old? ”inquire FERNANDA TORRES.

The actress declares that she was challenged to capture the duality of Eunice: A woman who, although linked at home, has a remarkable strength and resistance. Her ability to maintain conviction and smile amid tragedy was a striking feature she had to convey. Fernanda faced the challenge of interpreting Eunice With a focus on subtraction, avoiding excessive melodrama.

“Eunice is a complex character, a complex person”declared FERNANDA TORRES in conversation with Rolling Stone Brazilhighlighting the importance of understanding what moved that woman, especially in such a troubled moment in the country’s history. The emotional depth of Euniceas revealed by FernandaIt is anchored in a persuasive force that, even in silence, dominated its interlocutors.

She always had a smile on her face and a blunt that doubled her opponent, always with enormous intelligence and a irremovable smile. She did not move from her conviction.

The scene in which the magazine Headline Visit the family for an interview, followed by a photo, demonstrates this.

This immobility in their beliefs and the way she dealt with the tragedy of her family make Eunice a character of difficult interpretation, something that the director himself Walter Salles It helped shape over the filming.

“Walter came and spoke, it is missing smile, it is missingOA Eunice”remember Fernandadescribing how it was necessary to adjust its performance to reflect the softness and emotional control that defined Eunice.

The subjective horror of reality

I’m still here It comes in the wake of a consistent film production that, in recent decades, has agreed to represent the desolation that the period of military dictatorship has printed to the country. Be it in documentaries as Goat (1984), from Eduardo Coutinhoor in works based on facts, such as Marighella (2019), Wagner Mouraor What is that, companion? (1997) – which had already had Mello and Towers In the cast – there are numerous examples of the stories told about those affected by the authoritarianism of the time in the country.

As a sad irony, the film begins with a warm, warm meeting between family and friends. Some moments give clues that something is not correct, but the moment is affectionate and friendly, a pulse of life and dialogue. The scene will be resignified until the end of the feature, not without before being succeeded by a clear turning point, which occurs when Rubens Paiva It is taken to interrogation.

With the tragedy of the loss of the patriarch, father and husband, there is a break in this idyllic world. The house closes, representing the arrival of oppression. “From that moment on, everything changes: light subtracts, sound drifts, and language becomes more subjective”explains Walter Salles. The presence of music, so vibrant in the beginning, gives way to silence and anguish, requiring a new approach to filming, with more fixed cameras and dark spaces that reflect the tension of the period.

It is worth highlighting the way the dictatorship agents are portrayed in the movie. Instead of being shown as brutal, Walter Salles He chooses to present them as complex beings, making the scenes of violence even more disturbing. Not I’m still here Explore physical violence; She is worked more psychological and disturbingly, gaining air from a distressing horror movie. The scenes of Eunice Paiva In the Department of Political and Social Order (DOPS) are suffocating and revolting. The sounds in the background resemble something already done in Zone of interestOscar -winning Oscar -winning film at Oscar 2024: We know what happens there, although we are never eyewitness to that terror.

A bridge to history itself

I’m still here does not force an emotional response from the public; On the contrary, containment in performances and direction creates a complicity with the characters, allowing the public to feel the arbitrariness of life and power. The film also stands out for its unique approach, which contrasts with the fragmentation of the typical narrative of modern productions. In times of streaming and fast content, I’m still here It proposes a cinematic experience that values ​​time and depth, allowing the audience to truly connect with the characters and their stories.

This movie can help you understand why democracy is vital. “
(FERNANDA TORRES)

However, I’m still here is not limited to telling the story of Eunice or the disappearance of Rubensalso reflecting on an era marked by struggle and the search for a fairer Brazil. From that, Walter notes that, in the essence of cinema, is the ability to connect people, and this was evident during the filming, where all involved became a “Big Family of Cinema”.

In addition to the planned scenes, the team also filmed rehearsals, allowing the energy and spontaneity of the actors to be preserved on the screen. This approach brought a new dimension to the movie, providing a feeling of freshness and authenticity, making the emotions of the characters palpable. In these moments, who shines most is Selton Melloactor known by comic roles like the Chicó of The Auto da Compadecida (2000) and the Lelet of Lisbela and the prisoner (2003). In I’m still hereHe assumes the role of a dear figure, the famous “daddy.”

Selton shared his transformation experience for the character, highlighting not only physical change, which involved the gain of 20 pounds, but also the internalization of the personality of Rubens Paiva. It reflects on how this metamorphosis was essential to bring to life the figure of Rubensextending to deep understanding of the role.

Despite not having many references, visual or sound, Rubens Paivathe actor sought to understand how to capture his spirit on the screen. The challenge was to find a balance between the spiritual and technical nuances of acting. Selton recognizes that the direction of Walter Salles It was essential to create authentic and touching work, as the filmmaker combines delicacy and accuracy. “It wasn’t just my charisma”jokes Selton.

With the national and international success of the feature, the victories in the Venice Festivalin Golden Globe and later, in Oscarthe biggest award of cinema, the filmmakers notice a rare moment for Brazilian cinema, where human and family stories are reaching a broader audience. This emotional connection with the public, not only in Brazil, but in large international centers, is a sign that the film resonates with universal issues of oppression, freedom and the pursuit of dignity.

The team expressed their hope that I’m still here It can serve as a bridge so that new generations understand the lessons of the past, especially at a time when there is a growing phenomenon of young people who are unaware of the reality of the dictatorship.

“This movie can help you understand why democracy is vital”states FERNANDA TORRESrecognizing that the difficulties of democratic life should not be confused with the horrors of an authoritarian regime. “I’m sure these young people wouldn’t want to live in the country I lived. And maybe this movie helps them realize why.”

Rolling Stone Brazil Cinema Special

The text above is present in the special printed of the Rolling Stone Brazilwhich still brings an interview Francis Ford Coppolawhich reaches 85 years amid the release of his new movie, Megalópolisbold and millionaire endeavor financed by himself; A chat on soundtracks with the conductor João Carlos Martins; An exclusive list of the 100 best films in history (50 national, 50 international) and more.

The Special Cinema of Rolling Stone Brazil It is already on newsstands, but can also be bought at the EDITORA PROFILE store for R $ 29.90. Check it out:

Also read:I’m still herewinner of the first Brazilian Oscar, debut at Globoplay

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