Walter Salles’ “I’m Still Here” is not just a film—it’s a hauntingly beautiful act of remembrance. Based on the memoir Ainda Estou Aqui by Marcelo Rubens Paiva, the story chronicles the life of Eunice Paiva, a mother of five whose husband, former congressman Rubens Paiva, was abducted and murdered by Brazil’s military dictatorship in 1971. What unfolds is a deeply personal yet politically resonant portrait of grief, resilience, and quiet defiance. Fernanda Torres delivers a career-defining performance as Eunice, embodying a woman who refuses to be broken. Her portrayal is subtle yet seismic—every glance, every gesture carries the weight of a nation’s trauma and a mother’s unwavering love. The film’s emotional power is amplified by the presence of Torres’ real-life mother, Fernanda Montenegro, who plays Eunice in her later years, adding a generational echo to the story’s themes. Salles’ direction is masterful. He juxtaposes the idyllic warmth of 1970s Rio de Janeiro with the creeping dread of authoritarian violence. Super 8 footage shot by the Paiva children adds a nostalgic texture, while scenes of military helicopters and silent agents lurking in doorways remind us of the ever-present threat. The cinematography by Adrian Teijido and editing by Affonso Gonçalves create a rhythm that feels both intimate and epic. What makes I’m Still Here so powerful is its refusal to sensationalize. Instead of dramatizing torture or violence, it focuses on the psychological toll of disappearance—the limbo of not knowing, the bureaucratic cruelty of delayed justice, and the emotional labour of keeping a family whole. Eunice’s resistance is not loud; it’s found in ice cream parlour outings, in smiles for family photos, in the insistence that joy is a form of protest. The title itself is a declaration. “I’m Still Here” speaks to Eunice’s enduring presence, to Rubens’ legacy, and to the memory of all those lost to political violence. It’s also a warning: authoritarianism may fade, but its shadows linger. In a time when far-right movements are re-surging globally, this film feels tragically timely. Verdict: I’m Still Here is a breathtakingly tragic, emotionally rich, and politically urgent masterpiece. It’s a love letter to maternal strength, a reckoning with Brazil’s past, and a reminder that memory itself can be an act of resistance. One of the best Twinning International Films to date. Unmissable

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