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I’m Still Here: The Story Behind A Mother-Daughter Legacy
This year, the Brazilian film I’m Still Here is in the limelight with three Oscar nominations: Best Picture, Best International Feature Film, and Best Actress for Fernanda Torres. It’s a big moment for Brazilian cinema, but it’s also deeply emotional for Torres and her family.
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Fernanda Torres and Fernanda Montenegro: A Mother-Daughter Legacy on the Oscar Stage
Fernanda Torres isn’t just one of Brazil’s most recognized actors—she’s the daughter of Fernanda Montenegro, a legendary figure in Brazilian cinema. Back in 1999, Montenegro was nominated for Best Actress at the Oscars for her unforgettable performance in ‘Central Station.’ Though she didn’t win, her nomination was a milestone for Latin American performers, and the film itself won a Golden Globe for Best Foreign Language Film. Now, 25 years later, Torres is following in her mother’s footsteps, competing in the same category and with the same director: Walter Salles.
The bond between mother and daughter adds a unique touch to I’m Still Here. In fact, Montenegro, who is Torres’ real-life mom, makes a memorable cameo in the film as an older Eunice Paiva. This casting choice beautifully honors their family’s legacy, showing how storytelling can connect different generations.
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Torres has already had an amazing awards season. Earlier this year, she made history as the first Brazilian actress to win the Golden Globe for Best Actress in a Drama. During her acceptance speech, she talked about her mother’s influence: “She was here 25 years ago, and this shows that art can endure through life.”
The film I’m Still Here draws from the true story of Eunice Paiva, a wife and mother of five living in Rio de Janeiro during Brazil’s military dictatorship. Initially, her life appears joyful—filled with beach outings with her kids, family dinners, and laughter. However, everything changes when her husband, Reubens, is taken by the regime. He had been a congressman and a vocal advocate for democracy, but following the coup, he went into exile and tried to steer clear of politics. Yet, the dictatorship didn’t forget about him.
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Eunice finds herself searching for answers while striving to keep her family united. Torres’ performance beautifully captures the complexity of Eunice’s struggles—her silent sorrow, her fierce resolve to protect her children, and her quiet resilience in facing a seemingly unbeatable system. The film steers clear of grandstanding speeches or dramatic showdowns. Instead, it highlights the everyday courage of someone who refuses to quit, even when all seems lost.
One of the most moving parts of the film is the ending. We see Eunice years later, portrayed by Montenegro, grappling with Alzheimer’s. She’s not the strong, defiant woman we knew before, but her presence carries the weight of all her experiences. It’s a poignant reminder of everything she endured and how her story still has a powerful impact.
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Directed by Walter Salles, the film has been praised for its heartfelt storytelling. Salles doesn’t just present the political turmoil of the era—he makes it personal. The cinematography captures both the beauty and the darkness of Eunice’s world, from the sunny beaches of Rio to the tense, shadowy moments when she confronts government officials.
The movie premiered at the Venice Film Festival and has been celebrated at other major festivals in Toronto, New York, and London. Critics have called it a moving portrayal of life under tyranny, and its inclusion on the Best Picture list at the Oscars took many by surprise. While it was expected to do well in the Best International Feature and Best Actress categories, its recognition as one of this year’s best films overall speaks to its universal appeal.
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With the Oscars just around the corner, there’s a lot of buzz about Torres’ chances of winning. She’s up against some powerhouse performers like Cynthia Erivo and Demi Moore, but her role in I’m Still Here has really struck a chord. Trophy or not, just being nominated is already a win—for her, for her mom, and for Brazilian cinema as a whole.
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