NEW YORK — In the realm of cinema, the theme of political resistance is often depicted through acts of protest, hunger strikes, or armed rebellion. However, Walter Salles’ film “I’m Still Here” takes a different approach, showcasing defiance through a simple yet powerful smile.

The narrative centers on Fernanda Torres, who portrays Eunice Paiva, the spouse of Rubens Paiva, a former congressman from Brazil. During the country’s turbulent military dictatorship in 1971, Rubens was abducted from their home in Rio de Janeiro, leaving Eunice and their five children without answers or closure.

“I’m Still Here,” adapted from the memoir of their son Marcelo, shifts its focus to Eunice’s unwavering spirit. The film explores her relentless journey to reconstruct her family’s life in the face of overwhelming uncertainty. With notable resilience, Eunice stands firm against the oppression imposed by the military regime. A powerful moment in the film occurs when she instructs her children to smile for a newspaper photo, emphasizing her determination to maintain hope.

“The smile acts as a form of resistance,” Torres explains. “They’re not living in happiness; rather, it’s a tragedy. Marcelo recently reminded me of Eunice’s sentiment: ‘We are not victims. The country is the victim.’”

Set to premiere in theaters January 17, “I’m Still Here” offers a poignant reflection on family dynamics amidst political turmoil. The film represents a significant aspect of Brazilian cinema, helmed by Salles, an acclaimed director known for notable works like “Central Station” and “Motorcycle Diaries.” Additionally, it features Fernanda Montenegro, a celebrated actress and Torres’ mother, in a brief role as the older Eunice.

The film’s significance has been heightened in light of recent political events in Brazil, particularly following the presidency of Jair Bolsonaro, who faced allegations of attempting a coup in 2022 to remain in power. Bolsonaro, who referred to the 1964 military coup as “Liberty Day,” has denied any wrongdoing. Throughout the development of the film, Salles observed a global shift as various countries grappled with the emergence of authoritarian leaders.

“When we began developing this project seven years ago, it aimed to shed light on a forgotten past in Brazilian cinema,” Salles recalls. “However, as the political landscape transformed, we recognized that this story resonated with our current reality and future prospects.”

The film’s broad emotional resonance has turned “I’m Still Here” into a commercial success in Brazil and a critical darling in the U.S. As a result, it has emerged as a contender for the Oscars. At the recent Golden Globes, Torres earned the award for best actress in a drama, competing against prominent figures such as Angelina Jolie and Nicole Kidman. “I’m Still Here” is also Brazil’s official submission for the Oscars.

For Torres, Eunice Paiva embodies the qualities of a modern-day heroine reminiscent of Penelope, a character from Greek mythology known for her steadfastness.

“Eunice serves as an incredible guide for our times,” Torres asserts. “The struggle transcends political allegiance; it is fundamentally about humanity and the resilience of family ties.”

The narrative resonates personally with Salles, who grew up in Rio and was acquainted with one of the Paiva children. He fondly recalls the vibrant, music-filled atmosphere of their household.

“I remember a home where the doors were perpetually open — a rarity during the military regime,” Salles reflects. “It was a gathering place for many, and every visit introduced me to someone new. Later on, I recognized this was the Brazil I aspired to embrace.”

At 59, Torres carries a legacy as the daughter of famed actor Fernando Torres. She lived through the dictatorship that lasted until 1985, recalling memories of her parents anxiously preparing performances under the watchful eye of government censors who could halt productions on a whim.

In some aspects, Eunice’s character mirrors Torres’ own mother. Both actresses share a history with Salles, with Montenegro having received an Oscar nomination for her role in “Central Station.” The 95-year-old Montenegro remains the only Brazilian ever nominated for best actress, while her daughter could soon join her.

Torres had previously appeared in Salles’ films, including “Foreign Land” and “Midnight.” However, she had spent recent years seen in popular television series and working on a novel. When Salles approached her with the script for “I’m Still Here,” she initially believed he merely sought her opinions as a friend. For Salles, however, enlisting Torres was crucial in bringing the film’s story to life.

“This project struck a personal chord, and I knew I needed someone with her sensitivity, intelligence, and talent to see it through,” Salles explains.

Drawing from his own memories, Salles aimed to recreate the lively atmosphere of the Paiva home, characterized by open discussions around art and cinema, alongside the invigorating nearby beach of Ipanema. While the film captures the heart-wrenching ordeal faced by the Paiva family, the warmth they fostered amidst the political repression is palpable.

“We would cook in that home, to the point where Marcelo remarked, ‘It smells like my house,’” Salles recalls. “The goal wasn’t to fabricate a fictional family but to invite viewers into the real-life experiences of a family I had personally known. It was about capturing genuine moments of life.”

Salles’ approach to the story, devoid of melodrama typical in narratives of political resistance, required a shift in perspective. He made the decision to cut a scene where Torres, portraying Eunice, displayed visible emotion, leading the actress to question the film’s simplicity.

“When we were working on it, I wondered, ‘Is this going to resonate? It feels so unembellished,” Torres admits. “Yet, after watching it for the first time, I couldn’t pinpoint when I began to tear up.”

Instead of adhering to traditional storytelling techniques, “I’m Still Here” organically flows through time, depicting Eunice’s relentless refusal to let grief dominate their existence. Her version of resistance is marked by unyielding persistence, taking 25 years to secure a government death certificate for her husband. In 2014, a National Truth Commission revealed 434 people had been killed or disappeared under the regime, with countless more subjected to torture.

“This theme resonates with today’s reality. We face losses and uncertainties, unsure of what the future holds. Will someone come knocking at your door?” Salles contemplates. “If you ever grasp a moment of joy, perhaps that is the source of strength to continue resisting.”