The Positive Impact of "I'm Still Here" on Brazilian Cinema: Revival of Excellence
The film can be the retake of the Cinema Excellence in Brazil.
Brazilian cinema has taken a remarkable leap forward with the release of I’m Still Here (Ainda Estou Aqui), a film based on the book written by Marcelo Rubens Paiva that has touched audiences deeply while redefining the standards of cinematic quality in the country. This production not only showcases the creative potential of Brazilian filmmakers but also marks the resurgence of high-quality cinema in Brazil.
At its core, I’m Still Here tells a deep human story, exploring themes of military dictatorship in Brazil, family crisis, loss and resilience. The movie is firmly grounded in Brazilian culture, offering a poignant representation of the country’s identity at the military takeover that happened in the 1960s. This combination of touching themes and cultural authenticity has struck a chord with the public in Brazil, creating some kind of unique connection between the spectators.
The film is a testament to the technical and artistic excellence that Brazil’s film industry can achieve. With a stunning cinematography, a masterfully crafted soundtrack, and powerful performances like those of Fernanda Torres (2025 Golden Globe Award Winner) and Selton Mello, the film has a level of sophistication that rivals international productions like The Substance and Babygirl.
I’m Still Here sets a new mark for Brazilian cinema, showing how we can reach multiple audiences of all ages, cultures and countries.
In the political context we live nowadays (principally, in Brazil), movies like I’m Still Here present to us, the public, how the extremist ideals could cause suffering, such as the protagonists witnessed and felt. The portrayal of Eunice Paiva is light and quiet, but at the same time can be deafening; that’s the exact point that Walter Salles tries and succeeds to bring to the audience in the movie. The positive impact this story is having is very important to the real family involved, rebuilding movements against the amnesty that was given to the perpetrators of torture crimes at the military dictatorship.
I’m Still Here certainly redefined the perception of most Brazilians about national cinema and politics creating meaningful discussions and, when it becomes worldwide, it will serve an invitation to explore our history and a reminder that the Brazil film industry has the talent and vision to compete on a global scale.