SAO PAULO — Brazilian films typically struggle to maintain a foothold in local theaters, but “I’m Still Here,” which was released nearly two months ago, has captivated audiences nationwide. This gripping drama centers around a family fragmented by the military dictatorship that ruled Brazil for over two decades, drawing millions of viewers and achieving remarkable box office success. As of mid-December, the film had sold nearly three million tickets, placing it fifth in the box office rankings for 2024. Its popularity is largely attributed to its engagement with a profound national trauma, resonating particularly as Brazil navigates its recent brushes with democratic instability.
Taking place in the 1970s and inspired by real events, “I’m Still Here” follows the Paivas, a wealthy family in Rio de Janeiro befell by the regime’s brutality. The story revolves around Rubens Paiva, a former congressman who was seized by the military in 1971 and vanished without a trace, and his wife Eunice’s relentless quest for justice.
The film has garnered significant recognition, receiving a nomination for a Golden Globe for best foreign language film and making it onto the Oscar shortlist in the same category. Brazilian psychoanalyst and author Vera Iaconelli remarked on the urgency and importance of the film’s release, emphasizing the long-standing taboo surrounding the topic of the dictatorship. She reflected on the emotional impact it had on her during a recent viewing, despite the dictatorship’s end occurring nearly forty years ago.
The film’s release coincided with revelations from the Federal Police concerning a 2022 coup plan by military personnel aimed at preventing the inauguration of President Luiz Inácio Lula da Silva, thereby maintaining the position of far-right former army captain Jair Bolsonaro. Both Bolsonaro and his supporters refuted any claims of involvement or incitement regarding this coup plot. Lucas Pedretti, a historian and sociologist, asserted that the timing of the film’s launch could not have been more fortuitous. He noted that it serves as a somber reminder of what could have happened had the coup succeeded.
Unlike nations such as Argentina and Chile, which pursued accountability for dictatorship-era crimes through truth commissions and legal actions against former officials, Brazil opted for a sweeping amnesty for military leaders during its transition to democracy. For many years, the Brazilian military propagated the narrative that silence was the best way to dismiss past atrocities. Only in 2011 did the then-President Dilma Rousseff, a former guerrilla who endured torture, initiate a national truth commission to investigate human rights violations.
The 2014 report by this commission unveiled harrowing instances of torture and identified numerous perpetrators, none of whom faced imprisonment. As the dialogue about the dictatorship began, calls for a return to military governance cropped up amidst widespread protests against corruption. This prompted Marcelo Rubens Paiva, a son of Rubens, to share his family’s saga in his 2015 book “I’m Still Here,” which chronicles Eunice Paiva’s transformation from a housewife into a dedicated advocate for justice while raising her five children alone and pursuing a law degree.
In the years that followed, far-right anti-establishment sentiments gained momentum, culminating in Bolsonaro’s presidential victory in 2018, a candidate with a history of glorifying the dictatorship. Observing this resurgence, filmmaker Walter Salles recognized the country’s fragile grasp on its dictatorial past. He believed it imperative for Brazil to confront its historical traumas to prevent a repeat of such events.
While not the first Brazilian movie to tackle the themes of the dictatorship, “I’m Still Here” stands out for its widespread appeal. Salles opted to frame the narrative as a family drama, illustrating how the disappearance of the family’s patriarch disrupted their lives profoundly. In a poignant climax, 25 years after Rubens’ disappearance, Eunice finally obtains his death certificate.
In December, just weeks after the film premiered, the Brazilian government enabled families of dictatorship-era victims to receive reissued death certificates that acknowledge state-sanctioned killings. This significant development occurred amid the growing international attention surrounding “I’m Still Here.” Brazil’s Human Rights Minister Macaé Evaristo termed it a crucial step toward healing societal wounds and fostering understanding of this painful chapter in the nation’s history.
Yet, the journey towards healing remains ongoing, as some factions continue to resist accountability for those attempting to undermine democracy. On November 29, Bolsonaro publicly called for amnesty for individuals involved in the alleged coup plot and supported legislation to pardon those implicated in the anti-democratic riots of 2023—echoes of the Capitol insurrection in the United States.
Paulo Sergio Almeida, a filmmaker and founder of a company dedicated to tracking Brazilian cinema, pointed out that echoes of the coup persist in both the mindset of the military and the public. While many hoped the shadows of the past were behind them, the current political climate demonstrates that those historical memories and struggles remain alive in contemporary Brazil. A significant faction of the population is advocating for accountability for those involved in the coup attempt, viewing such measures as essential for national reconciliation and forward momentum.
On December 14, police apprehended Bolsonaro’s former defense minister and running mate from the 2022 campaign, marking a historic arrest involving a four-star general by civilian authorities since the dictatorship ended in 1985. This moments sparked remarks from leftist Senator Randolfe Rodrigues, who celebrated this as a sign of progress for constitutional democracy, while acknowledging the extensive journey Brazil still faces as a Republic.
Amidst this backdrop, the “No amnesty!” slogan that emerged from protests after the 2023 riots continues to resonate. Recently, a Supreme Court justice referenced “I’m Still Here” in discussions concerning the 1979 amnesty law, contesting its applicability to cases of body concealment. Justice Flávio Dino highlighted that the unresolved disappearance of Rubens Paiva illustrates the ongoing suffering experienced by numerous families affected by the regime.
Marcelo Rubens Paiva aimed to ignite conversations through the film adaptation of his book, positing that it arrives at a crucial moment in which the populace must reevaluate their stance on living under a dictatorship. After a viewing of “I’m Still Here,” one mother and her teenage daughter expressed a profound emotional connection to the film’s portrayal of suffering and the importance of safeguarding democracy. The impact of Eunice’s story has reinforced their resolve to fight against the possibilities of repeating the nation’s tragic past.
