I think Brazilian directors and actor/actresses don't expect much from the Oscar. Like Fernanda Montenegro said "It's an american thing for the americans". And it's more about money and lobby than art itself.
@@Carlosr2rp There’s definitely some truth to that, but I definitely think there’s still much more merit to the films that they do choose to award overall, far and beyond so than the Grammys lol
i think this film will never hit the gringos as hard as it hits for us brazilians, only we understand every single word that is being said, the pain, the history, the culture. my grandfather was exiled and inprisoned for being part of the rebel party, coincidentally my grandmother is called eunice as well, and my mom was a child at that time and she remembers eunice and rubens stories being told on tv.
Eu sou brasileiro. Fui ao cinema assistir “Ainda estou aqui”, o maior de sucesso de bilheteria do cinema nacional do pós pandemia. Fui bem animado, afinal é um filme de Walter Salles com Fernanda Torres e Selton Mello! Mas o filme me decepcionou. Achei longo, sem ritmo e com um roteiro bem preguiçoso. A impressão é que a família protagonista, especialmente o Rubens Paiva (Mello) e sua esposa Eunice (Torres) foram excessivamente idealizados e por isso não me identifiquei com nenhum dos dois, tamanha a carga trágica e estóica com que a história retrata os dois. Também tem o resto da família, que vive uma vida de sonhos numa casa de bonecas e que provavelmente continuaria pra sempre assim, não fosse o infortúnio externo causado pela repressão da ditadura. Fiquei tão incomodado que fui assistir “Feliz ano velho”, filme de 1988 adaptado de outro livro do Marcelo Rubens Paiva (que conta a história do acidente que o deixou tetraplégico no auge de sua juventude), filho dos personagens representados por Selton Mello e Fernanda Torres. Dois filmes, adaptados de dois livros autobiográficos escritos pela mesma pessoa e retratando a mesma família, mas em períodos diferentes. Mas aqui eu consigo ver o quanto estas pessoas são reais, humanas, com seus erros e acertos. Eunice e Rubens Paiva aparecem menos aqui, mas me parecem muito mais humanos. O filme é muito bonito também, a fotografia é fria quando mostra a recuperação e adaptação de Marcelo e adota tons quentes quando vemos os flashbacks anteriores ao acidente. A questão política está ali, mas de forma muito mais tangente, de modo que a história se torna mais universal. Pra não pensarem que sou hater ou que quero prejudicar o cine nacional acho que vale a pena assistir “Ainda...” nos cinemas (cliente Bradesco paga meia no cinemark) e depois assistir Feliz ano velho, que voltou aos cinemas em algumas salas da rede cinesystem. É uma oportunidade única pra comparar como se faz e como se fazia cinema no Brasil em dois períodos totalmente diferentes, porém com um assunto em comum nos dois casos.
@@raultraje mas é óbvio. A vida da familia era sim idílica. A filha presa era uma das promessas do volei do botafogo, moravam em frente a praia, classe alta, eram amigos da familia de Salles que continua sendo uma das mais poderosas do BR. Rubens e Eunice não foram idealizados, eram assim mesmo. Documentos, fotos e entrevistas históricas mostram isso. Feliz Ano Velho mostra todas as frustrações com um acidente, é lógico que é mais tragico (Marcelo fala q não deixa de passar pela cabeça dele q o acidente nao teria acontecido se nao tivessem levado o pai. A vida idealizada existiria ate hoje).
It's the second review that i've seen from north americans. You guys are giving 7/10 for the movie, because its nothing groundbreaking or it doesnt have a backgorund, or it doesnt have a sense of urgency. Giving you a little context, thats exactly what Walter wanted it. Silence. Tension. Moving on without knowing. our relatives just disappeared and we couldn't speak freely, as everything was considered confronting the system. Another thing: we have a lot of movies of the torture, of the fights, our rebel groups resisted and were crushed (almost like spy movies and action). Few survived, our president Dilma was a revolutionary warrior who, to this day, has her jaw out of place due to torture. She doesn't talk about it. Just like my father resigned from the army 6 months after he joined so as not to torture riverside dwellers in the Amazon (he doesn't talk about that either). The focus of the narrative was the quiet way that the relatives had to move on. Silence. Fewr. To live in fear. To fight other batles. Eunice is a heroine for us just like Rubens. Just like my father.
A intenção é irrelevante pra efeito da obra. Se a obra não tem o fim em si mesma então é outra coisa, é sobre o diretor, é sobre a intenção dele, é sobre o contexto, qualquer justificativa subjetivista que acoberte a fundação autocentrada do filme
@@elainercosta Eu vou explicar de um jeito que até uma historicista burra entende: se a qualidade do filme só se evidencia segundo fatores exógenos, é a relação dele com esses elementos que te comove e justifica a defesa do filme, em vez de qualquer qualidade intrínseca. E existem objetos intrínsecos. Ritmo e urgência, aliás, são alguns deles. E são conceitos que não nasceram com o seu umbigo ou com um ponto de inflexão histórico do seu país, mas sim estão aí desde Ilíada e Gilgamesh
When North Americans have the courage to discover what world cinema beyond Hollywood has to offer, you will be surprised by the other aesthetics and forms of cinema that exist out there. The Oscar does not necessarily represent us. We know the quality of our cinema. Thanks for the review!
I think, as a brazilian, for me, personally, that this movie is doing an incredible job helping to remind people of those horrible times. Far ritght extremists are in a ferocious campaign to deny the dictatorship period and it's consequences but no we will never forget neither forgive. This has been more evident in 2023's attempted coup, in Brasilia, our capital. This movie is already a winner, in so many ways. Anisitia é o caralho.
@@NathanielAhart What I meant to say is that it was a smart option to leave the dictatorship as a backdrop, otherwise it would have become an air of historical didacticism that would take the dramatic focus away from the story of Eunice and her family. I think that anyone who sees the film and wants to know more about the dictatorship can look for documentaries and other sources.
North Americans are used to very self-explanatory movies. To truly feel or understand the story and see the greatness of the work, they would need at least some research on Brazil’s history. Unfortunately, their education is very US-centered. Imagine having to research an external conflict. Technical knowledge alone is not enough when it comes to cinema.
this "lack of tension" is the inside fear of losing even more people. the context is not a war, it's something colder and sader. it's a moral fight between search for justice and protect the family you still have.
It's interesting that you said it lacked tension because for me that's exactly what hit me the most. Like, we know the history: the "disappearance" of Rubens Paiva and the atrocities committed during the dictatorship are things we learn in school. We know what probably happened, and there are plenty of other documentaries and movies that show the violence more explicitly. Most of us knew from the start, from the date that was shown on screen and the first time the surname was mentioned, what was going to happen. What truly makes this movie resonate though, and probably also what makes it difficult for a foreigner to understand, is how realistic the family, the reactions, the consequences are depicted. It makes you see this family, that was just like yours at the time, and see it destroyed senselessly, and then be held together by sheer willpower and tireless, monotonous, *constant* effort for months, years, decades. This isn't a story to gawk at and be shocked by and get catharsis from. There aren't any closeups of violence or desperate screams or the wailing crying and room destruction that the oscars love so much. There is a quiet dispair, and understanding and acception of what happened, and a gathering of strength by Eunice and the oldest daughters to protect the others. That's the reality, that's what a lot of us or our parents remember. The silence, the doubt, the moving on without being able to actually do so because nothing was even confirmed. To give a personal note, which maybe of some help understanding: my mom lived in such a similar situation to them that the Paivas could literally have been my family, she was almost the same age as the youngest (Maria Beatriz) at the time and had 3 older siblings, and if we had been a little less lucky that could've been my grandfather as well. Rubens acts exactly like he did, they dressed the same, had similar social lives and manners of speaking and all, the kids had the same hobbies and activities, they even also had a little plot of land away from the city where my grandpa built a little house for them the way they wanted. It's so personal already, and nobody from my immediate family was even "disappeared"; you can imagine how much closer it is for those who went through that. And what you're left with isn't an intense hatred or a shining moment of pain, but a dull, everlasting emptiness, missing someone without closure, not being able to properly say goodbye to them because the government won't admit it. You're left with heavy silence, lying and hiding things from the kids, worrying if the people around you are spying on you. And you have to go on despite all that. That's the reality of it, and that's why the whole cinema was crying for the last hour of the movie. Because we can see ourselves in Eunice and in the family, because it's all so real. And that's also why we're so protective of this movie
@@justlola417 That makes sense, I appreciate you sharing your personal perspective on the film. And I did understand how realistic the family’s interactions were, none of that rang hollow for me at all, I just think the initial structure indicating it was building in cohesive structure that it ultimately didn’t adhere to, and I think that’s more how I feel having stepped away from the film and thinking about it some more since, but I appreciate the intent of the story!
My grandfather was captured by this same military ductatoship so this is real... When he returned, he was speechless about it. We never knew exactly what happened there. Many people say that the crimes that happens daily in our country are a reflection of this period. Thanks for your analysis!
The lack of urgency is because we all know (here in Brazil) that justice is a failure, and she (Eunice) would never gain anything from it, just headaches, more pain and suffering. So in the end, it doesn't even matter.
It's interesting seeing a foreigner reviewing this movie. Like many (if not all) comments, I'm also brazilian and it just hits different for us. I don't think you *need* to have lived through something for it to connect with you, but I do recognize that it does make a difference and, in my opinion, taking into consideration the state of the world right now, what we see on screen speak volumes. It's terrifying to think that all of that could happen again. My parents remember the military dictatorship, that is a scar marked on their mind forever and it impacted on their decisions and the way they educated me and my sister. Always good to see our art travelling the world. Walter Salles is one of my favorite directors and Fernanda Torres was brilliant. As you said, she conveys so much with only her facial expressions. It was an extraordinary experience watching it in the theater, it felt like everyone there was connected.
Camila, Não me sai da cabeça o título "Ainda Estou Aqui". Tem múltiplos significados. Quem ainda está aqui? - a presença de Rubens Paiva, onipresente no primeiro terço do filme e cuja ausência ecoa no restante do filme? - a Eunice de antes de 1971, que apesar de parecer diferente no restante do filme, ainda continua lá? - ou seria um aviso a nós, espectadores? De que as fardas e coturnos "ainda estão aqui". Como esse filme é fora de série, em todos os detalhes
@@leandroo1713 Acrescento mais um: Na última cena, ela já acometida pelo Alzheimer, tem um "despertar" vendo na TV uma reportagem sobre a ditadura e o marido. Apesar da avassaladora doença, ela ainda está lá.
Thank you for your review! The book from Eunice's son, Marcelo Rubens Paiva, tells more about the terrible methods of the brazilian dictatorship regarding his father assassination but I think the choices made by the writers were perfect. It's a human story after all. We have other and equally powerfull movies (from the past and present) that bring to the newer generations an overview of that period.
it won't win of course...? oi ???? Impressionante como a profundidade, tensão e singeleza dentro de um contexto único e desenhadas tão lidamente nunca serão apreciadas nem ao menos entendidas por uma cultura tão pobre e limitada. O que falta aí, derrama aqui. Pena que a gente não aproveita tanto. Obrigado Ainda Estou Aqui por permitir que mergulhemos.
Talvez ele tenha parecido um pouco arrogante nessa fala, mas infelizmente, é a verdade. A ditadura militar é uma dor que só dói em nós, só toca a nós, é uma ferida que só está na nossa memória, e só se o filme jorrasse sangue na tela ou mostrasse torturas explicitas eles entenderiam. Eles não aprenderam isso na escola e não é importante o suficiente para eles pesquisarem por conta própria. Essa dor silenciosa e melancólica que o filme causa na gente só faz efeito quando se tem contexto ou se o filme mostra, para nós, não precisou (e ficou muito melhor assim, afinal, o filme era sobre a dor de uma família desestabilizada e não sobre a ditadura) mas a memória coletiva gera empatia e para um drama dar certo é preciso ter empatia. O filme "Ainda estou aqui" é um filme brilhante de brasileiros para brasileiros, para nunca mais repetirmos os erros do passado, não um filme ganhador de Oscar. Agora que já militei, vai tomar no cu Oscar.
@@Mayrinckthe eu fico realmente estarrecida com a limitação deles! Não conseguir compreender que o horror está justamente no silêncio, na impossibilidade de saber, de questionar, de gritar ou chorar. O medo porque é tudo arbitrário e feito a portas fechadas. Ok, o cara pode não conhecer a nossa história como nós, mas o filme retrata muito bem a angústia da Eunice e da família por não saber o que aconteceu, quando e se o Rubens iria voltar, ou mesmo a razão de aquilo estar acontecendo. Qualquer pessoa minimamente sensível é capaz de compreender essa sensação de impotência, de temor e de um luto que só vai sendo revelado aos poucos. O sujeito queria que mostrassem tudo explicitamente, porque parece que é só essa a linguagem que eles entendem.
@NathanielAhart the problem is not about being crowded... the problem is most ppl from US only see Hollywood. I can guarantee there are much more awesome actors and actresses that has an amazing acting all around thr world that you will never praise being so self-centered, thinking like the world is limited by your state lines...
Though I think this movie will hit many people, as it's very powerful, it was made for Brazilians and it does depend on our context for a full understanding. The jump to 2014, for example, is very important, but it's hard to know that if you didn't grow up knowing abt the amnesty and then saw the Commission of Truth be implemented during Dilma's presidency.
The Commission of Truth gave millions for some artists who moved to Paris and London and gave only a little money for the families of comun people who died in the underground of DOPS . People who lived those days knows the real things that happened .
As a Brazilian myself I’m so happy for Miss Torres getting international praised! Just like her mother she always gave us great work and hopefully she gets that nomination 🙏🏻
at 20 she won a Prix d'interprétation féminine in the Cannes festival. So yeah, pretty much internationaly praised! A mulher ganhou a palma de ouro por melhor atuação feminina haha em termos de carreira, acho que esse é um reconhecimento maior do que um oscar, mas seria legal por conta dos momentos da carreira, ne.
Great review, Nathaniel! This film communicates a lot with brazilians, as it was a period of great sadness for our people. And, I dont know if you know, part of our people has been calling for a return to the military dictatorship. So, somehow, “they are still here”. Thanks for the great review
@@NathanielAhartwhat he said is true. And one of the reasons this movie is such a huge success in Brasil right now, people think it is important to remember the horror of the Dictatorship
The only thing I could think on the first part of the movie: Are they really going to destroy this happy family? Than proceed to feel just everything the main character was feeling…😢
Without the slightest doubt, one of the best films of all time. Fernanda Montegro only needed 2 seconds of screen time to make a full theater cry and Fernanda Torres delivers one of the most brilliant works an actress could do. An extremely necessary film to not leave the past forgotten and remind us that the fight for and maintenance of democracy must be constant!!!
O filme estreou aqui no Brasil na última semana e se tornou um fenômeno de público. Assisti ontem e me emocionei demais. Parabéns pelo seu trabalho. Ganhou um escrito. Saudações!!
As a Brazilian, this film is wonderful and incredible. Fernanda Torres and Selton Mello are my favorite actors. Fernanda Torres is well known here in Brazil for her role in comedies, so much so that she became a meme on the internet for her roles on Brazilian TV and her comedic interviews. Selton Mello is a versatile actor, he is one of the best cartoon voice actors, I will never forget when he dubbed some films for Disney in Portuguese. The film is precious and touching for Brazilians, perhaps for other people the film cannot touch our hearts as much as it did.
eu acho que a escolha por mostrar menos dor da eunice é justamente o que dá nome ao filme, ele retrata acima de tudo a força que a mãe de uma família de 5 crianças teve que ter enquanto lidava com tudo isso pra sustentar a sua família e prezar o bem e a segurança de suas crianças
@@NathanielAhart have you seen Emília Pérez? Is Torres performance better than gascon? I’m asking this because I think they will compete for the same votes
@@pedroaugustopinheiro No, I unfortunately haven’t yet, but I highly doubt Torres has it in the bag like Gascon has. Haven’t even seeing the movie, there’s no way she doesn’t get nominated for that performance.
I love film too, and I agree that the passage of time in the middle where Fernanda Torres appears with gray hair is not done in the best way, I wish we had seen more of the family's life after moving house, Eunice Paiva's life was incredible in many ways and this was not portrayed in the film. but none of this is a big problem and the performances are PHENOMENAL as you pointed out even the kids did well. 9.5/10
Cheers for reviewing a Brazilian movie, it's nice to see people enjoying our stuff. What you missed wasn't there for a matter of respect to the history this people lived. Meireles is a friend of the family i ln real life. He use to go to that house. That's why he keeps it chill. And he wants to show that the violence isn't more important than how she took care of things. Have a look agajn with these eyes
@@J.Barreto I hate to retread the same comments that I have put on here previously, but I don’t think I properly articulated my thoughts when I recorded this, so I will properly explain myself lol. I suppose after thinking about it, I don’t want it to be sensationalized, but the momentum the script was building from a structural standpoint at the beginning I still feel completely drops and it doesn’t fully come together in the way a film like Central Station does. The leap forward in time almost feels like it was tacked on, even though it obviously held a lot of weight, so I suppose the film felt jarring and a little loose for me, but I more than certainly appreciate your perspective!
@NathanielAhart does make sense. It's a real story though, life is different from fiction. Like they do show the dog dying, but they don't show Marcelo getting paraplegic by diving into a stone in a river, we only see him in the wheel chair later. That would be a Moment with so much conflict for that family that was already going through so much... But Meireles decided that it wasn't necessary, we had already understood the river of shit that family was going through. If this was food, I would say that yeah, although it's not as well spiced as food from great restaurants, it's simple and made with love. I ain't saying it's a perfect movie, but it's a 8.5 - 9 to me. Don't know, might also be because im living here in the moment, we are seeing a risk of another dictatorships just around the corner, and I would like as many people as possible to appreciate the heck out of this movie, so it might be a well understood warning. Btw, if you would like, have a look on some other Brazilian filmes close to this one. "O ano que meus pais saíram de férias" (About parents and their children through those times) "O que é isso companheiro" (in this case they show an American Embassador that got kidnapped, instead of the Swiss). "Mariguella" (about a man who fought the dictatorship).
Caro Nathaniel Ahart, espero que tenha o botão do 'Google Translate' pra você entender meu comentário. Sobre a sua opinião de que o filme se torna pouco urgente na segunda metade, isso se evidencia pela busca angustiante de Eunice em saber o que aconteceu com seu marido, Rubens, mas também no impacto que isso trouxa à sua família. Não é um filme para retratar a violência explícita da Ditadura Militar, mas justamente o vazio existencial que deixa na família de quem foi capturado por ela. E um vazio não é urgente, um vazio é algo que te limita, que te desacelera, que te faz viver "um dia de cada vez". E isso é, realmente, muito lento por ser uma coisa impossível de se retirar. A agonia silenciosa de Eunice Paiva se faz pela necessidade de ver sua família bem, mesmo dentro daquele mar de horrores da ausência do pai, da dificuldade financeira, da mudança de padrão de vida. Quanto aos avanços de tempo, é porque toda a trama do filme é a "busca". Primeiramente a busca por Rubens Paiva e, depois, na impossibilidade de tê-lo novamente, a busca por respostas. E essas respostas só vieram, de fato, em 1996 e um esclarecimento final em 2014. Saudações!
@@marialuisa9169 Thank you! And no, I’m not even sure if it has been released in limited yet, even in the States, so the wait might be just a little longer before that happens.
Just watched this yesterday. I cried a lot of times since the beginning. It’s tense and sad when you dont know the historical moment, a happy family broken up. But for us, that lived through it, or were born after but heard stories from our parents and learned about it in school, it hurts. And it hurts because it’s fresh and it’s shameful. There was no real closure. Yes, democracy came back (and since then has had its ups and downs), but people still ask for the dictatorship to come back. So many families never got to bury their loved ones or even know how or why they died. And no one paid for it. We never went after the criminals who killed and tortured innocent people. I think it was great they focused on her and her strength in living after losing so much (her husband, her sense of self, her sense of safety), and it’s great people are learning a little about what happened to us. I wish there was a way to say how we got there and who financed it (one guess!). Eunice lost Rubens and then had to live another 14 years in the dictatorship. And she still had strength to fight for others, like he was doing it. She had felt in so many ways how cruel the regime was and she went back for more. Imagine smiling because you finally have a death certificate for your husband who has been dead for longer than you were married. 25 years later. Just a piece of paper. For us, it’s gut wrenching, because even in the first minutes, they are happy but we knew it wouldnt last. All the plans made, all the promises, talking about the end of the regime, of getting back what they lost. You became almost as paranoid as Eunice, just wainting for it to come. And like them, you couldnt even process that was the last time you were gonna see Rubens. No way to say goodbye. He was going to answer questions and then he was gone for 25 years without so much as the acknowledgement of his death.
I think I liked the movie for the things you disliked. The beauty of the film lies in the urgency that is not given to the case. The dialogues that don’t happen between the mother and her children (at the time, this was common because children tend to repeat things at moments that could be dangerous). The speeches the mother didn’t give and the fights she didn’t have, because there was nothing to be done against the government. This could have been a film full of exaggerated performances, lots of screaming and crying. But that wasn’t possible in Brazil at the time. No movie or series about the dictatorship has ever represented this feeling so well. I found the subtlety beautiful, and the sometimes silent performances that still speak volumes.
They just uncovered a plan of a black ops branch of the military to kidnap the democratic elect president and a supreme court judge, so I think that really weighed on me as I watched it as a Brazilian. I’m glad you had nice thoughts of some moments in it though! Fernanda Torres is known for her comedy here, so this role was a spectacular surprise.
@@BIPfilmes If Emilia Peréz is in Best Picture, it certainly won’t. They always go with the movie nominated for the biggest award and that is a star that has never been broken.
The movie is minimalist, what doesn't mean superficial. If this movie was made in the USA, it would really melodramatic and overacting. Just like you said, Fernanda says multiple words only with her facial expressions.
@NathanielAhart I've just returned from movies and have it fresh, and I agree. By the third act, especially when the family left Rio for São Paulo I felt a shift at the rhythm of the movie. HOWEVER, as someone who always seeks for the less obvious choice I'm fine with it.
@@NathanielAhart I've just realized why you feel that you lost the momentum. Let's say that the third act of the movie is when the family leaves Rio to São Paulo. We jump in time from the 70's to the 90's, the dictatorship had ended already. So there wasn't a reason to have "more action" going on like when Eunice and her daughter were kidnapped. When Eunice is getting interviewed by the reporters, there's one asking if it matters so much searching about the past while there were more important things after the redemocratization. This exemplifies how that momentum was left behind.
There’s a great difference between the American way of making movies , and the Brazilian way. Brazilian movies are about realism , the more realistic the dialogues and the scenes are , the more we like it , it’s raw and not over dramatic , Hollywood has it’s own parameters, it’s all about grandiosity and shocking the audience, there’s always catchy/sarcastic lines in dialogues , and there’s always the need of a final lesson to take from the narrative. I’m not saying one is better than the other , it’s just two very different ways of telling stories.
@@Aloha698 I completely understand that, but I suppose at the time of my review I wasn’t as articulate as I could have been. My whole thing is the structure of the film that I got hung up on and the way it flowed as a narrative whole. Central Station was still able to show gritty realism with sensationalizing anything, but that still felt like a well-structured story from a screenplay standpoint, then his just felt like it didn’t keep a similar momentum and follow-through, especially once the film flashes forward in time.
I'm Brazilian and I agree with you. Despite I love the actors so much, I missed more context about the climate in Brazil in that period of time, beyond the southern zone of Rio, and at least in flashback scenes, Rubens' performance as a congressman. He was a member of the PTB and supported Jango's reforms and has made memorable speeches against repression. There are audios on TH-cam. It's a story that needs to be told and retold because there is a whole apparatus to distort the facts, as the military dictatorship did back then.
That wasn’t the point of the movie though. This wasn’t a story about the regime or Rubens. It was about her. About Eunice. I’m all for having movies about the dictatorship or even its build up. Or some of the big names of resistance. But this was about a voice they couldn’t silence and it’s clear from the title, as it adapts to several different meanings. She was still there, after he was gone. She was still there, even when they denied everything. She was still there, after the regime ended and when she finally got the death certificate. She was still there, fighting for human rights even after they threatened her. She was still there to ask the questions and demand his -their-story was written. And finally, she was still there, after 15 years with Alzheimer’s, able to recognize her own story. And to know that even after all she did, there was never truly justice.
I'm a brazilian and feel people are on the hype and hyper-sensitive to any criticism to it... It is a good movie with great acting from Fernanda Torres. When i left the cinema i had the same impression: the first 30 minutes are impeccable, great, dynamic and then... independent of the seriousness and good moments, the pace got strange. The transitions between periods were dry, and broke the tension that they brewed on the first part. The movie, at least for me, should've ended at the end of the first act and those 2 other periods seemed like a post-credit. They present loads of info in a new context that does not get explored or connected well... Nevertheless, i understand the need to document what happened and give the whole story. But i feel even though people don't admit it, we are too excited to have a recent movie that is able to become Oscar material, people just refuse to cast any form of criticism even though to criticize is not hating or "ruining the movie reputation". I liked it, i would say it is a 7.5/10 would watch again but i don't think it will be rewatchable like "central station", or even "aquarius"
@@j_mnzs While I will say that I do think the movie should have gone beyond the first act, I think you succinctly stated exactly how I feel about the film, especially how the film flashed forward. Glad to hear a bit of a desertion to the overall opinion on the film, albeit still a positive one!
Sou brasileiro. Fui ao cinema assistir “Ainda estou aqui”, o maior de sucesso de bilheteria do cinema nacional do pós pandemia. Fui bem animado, afinal é um filme de Walter Salles com Fernanda Torres e Selton Mello! Mas o filme me decepcionou. Achei longo, sem ritmo e com um roteiro bem preguiçoso. A impressão é que a família protagonista, especialmente o Rubens Paiva (Mello) e sua esposa Eunice (Torres) foram excessivamente idealizados e por isso não me identifiquei com nenhum dos dois, tamanha a carga trágica e estóica com que a história retrata os dois. Também tem o resto da família, que vive uma vida de sonhos numa casa de bonecas e que provavelmente continuaria pra sempre assim, não fosse o infortúnio externo causado pela repressão da ditadura. Fiquei tão incomodado que fui assistir “Feliz ano velho”, filme de 1988 dirigido por Roberto Gervitz e adaptado de outro livro do Marcelo Rubens Paiva (que conta a história do acidente que o deixou tetraplégico no auge de sua juventude), filho dos personagens representados por Selton Mello e Fernanda Torres. Dois filmes, adaptados de dois livros autobiográficos escritos pela mesma pessoa e retratando a mesma família, mas em períodos diferentes. Mas aqui eu consigo ver o quanto estas pessoas são reais, humanas, com seus erros e acertos. Eunice e Rubens Paiva aparecem menos aqui, mas me parecem muito mais humanos. O filme é muito bonito também, a fotografia é fria quando mostra a recuperação e adaptação de Marcelo e adota tons quentes quando vemos os flashbacks anteriores ao acidente. A questão política está ali, mas de forma muito mais tangente, de modo que a história se torna mais universal. Pra não pensarem que sou hater ou que quero prejudicar o cine nacional acho que vale a pena assistir “Ainda...” nos cinemas (cliente Bradesco paga meia no cinemark) e depois assistir Feliz ano velho, que voltou aos cinemas em algumas salas da rede cinesystem. É uma oportunidade única pra comparar como se faz e como se fazia cinema no Brasil em dois períodos totalmente diferentes, porém com um assunto em comum nos dois casos.
"It won't win, of course..." Blunt but spot on, lol. Emilia Perez is most likely getting it. Unfortunately I don't think Brazil is getting an Oscar anytime soon.
@@NathanielAhart true! well, unless this gets best picture also/instead.. I honestly don´t understand the hype of E.Perez. The acting is great, ok, and a good movie.. but "better" movie overall? (Imdb ratings says it all - E.Perez 6.8, I´m Still Here 8.9) I think this might be the case that 5 years from now we´ll be saying "how on earth this film won over I´m Still Here?" (and over Seeds of Sacred Figg as well?) I have a guess, because it´s a Netflix made for oscar + money + more money..
No offense (really) but, like so many people said, somethings you have to see or at least feel the memories. My grandfather was from MDB (the authorized opposition to the government regime) and my family tells me that they hide some political fugitives. Whenever I hear/watch/read about this time i always feel like I'm suffocating a bit. I think that's what they felt, this constant watcher, always ready to punish.
@@ovinecostass You don’t think the lore personal approach to this story was different from what you’ve seen before? I’m actually genuinely curious haha!
@@NathanielAhart as far as the art of telling stories is concerned, yes, it does seem valuable to me, but the point is that there is so much material about this historical period that it makes me saturated in terms of consumption. XD
I agree It is such a boring movie and was not made for Brazilian people. This is only another movie for the Caviar Left ( rich people that love comunism , Luis Vuitton , New York , luxury hotels , expensive watches , First class flights and ALL the goods that public money can buy ) .
@@alexandrecheconi4801 é literalmente um filme de uma coisa que aconteceu de verdade, não é um filme de ficção, mas pelo seu comentário da pra saber de quem vc seria cachorrinha em 1970
You far right people stink so much that you can't pass unnoticed! Y'all hate this because it's about a real story that you happen to support even if it costs your own senseless lives 😂
![[UNCUT] เก็บ "สจ.โต้ง" เอี่ยวมาเฟีย รู้ตัวคนบงการ ก่อนสั่งลั่นไก I คนดังนั่งเคลียร์ I 13 ธ.ค.67](http://i.ytimg.com/vi/o-J_p62D40w/mqdefault.jpg)
I think Brazilian directors and actor/actresses don't expect much from the Oscar. Like Fernanda Montenegro said "It's an american thing for the americans". And it's more about money and lobby than art itself.
@@Carlosr2rp There’s definitely some truth to that, but I definitely think there’s still much more merit to the films that they do choose to award overall, far and beyond so than the Grammys lol
@@NathanielAhart if the comparison is with the grammys, anything else will be about merit and art quality hahaha
Absolutely meu camarada.
@@NathanielAhartlike Shakespeare In Love getting the Oscar for Best Movie? lol
@@moleiroo Still not a bad movie, but yeah lol. We blame that one on Harvey.
i think this film will never hit the gringos as hard as it hits for us brazilians, only we understand every single word that is being said, the pain, the history, the culture. my grandfather was exiled and inprisoned for being part of the rebel party, coincidentally my grandmother is called eunice as well, and my mom was a child at that time and she remembers eunice and rubens stories being told on tv.
@@amandinhapiwon Wow, that’s an incredible piece of family history! Much respect to them 🙏🏻
Eu sou brasileiro. Fui ao cinema assistir “Ainda estou aqui”, o maior de sucesso de bilheteria do cinema nacional do pós pandemia. Fui bem animado, afinal é um filme de Walter Salles com Fernanda Torres e Selton Mello! Mas o filme me decepcionou. Achei longo, sem ritmo e com um roteiro bem preguiçoso. A impressão é que a família protagonista, especialmente o Rubens Paiva (Mello) e sua esposa Eunice (Torres) foram excessivamente idealizados e por isso não me identifiquei com nenhum dos dois, tamanha a carga trágica e estóica com que a história retrata os dois. Também tem o resto da família, que vive uma vida de sonhos numa casa de bonecas e que provavelmente continuaria pra sempre assim, não fosse o infortúnio externo causado pela repressão da ditadura. Fiquei tão incomodado que fui assistir “Feliz ano velho”, filme de 1988 adaptado de outro livro do Marcelo Rubens Paiva (que conta a história do acidente que o deixou tetraplégico no auge de sua juventude), filho dos personagens representados por Selton Mello e Fernanda Torres. Dois filmes, adaptados de dois livros autobiográficos escritos pela mesma pessoa e retratando a mesma família, mas em períodos diferentes. Mas aqui eu consigo ver o quanto estas pessoas são reais, humanas, com seus erros e acertos. Eunice e Rubens Paiva aparecem menos aqui, mas me parecem muito mais humanos. O filme é muito bonito também, a fotografia é fria quando mostra a recuperação e adaptação de Marcelo e adota tons quentes quando vemos os flashbacks anteriores ao acidente. A questão política está ali, mas de forma muito mais tangente, de modo que a história se torna mais universal. Pra não pensarem que sou hater ou que quero prejudicar o cine nacional acho que vale a pena assistir “Ainda...” nos cinemas (cliente Bradesco paga meia no cinemark) e depois assistir Feliz ano velho, que voltou aos cinemas em algumas salas da rede cinesystem. É uma oportunidade única pra comparar como se faz e como se fazia cinema no Brasil em dois períodos totalmente diferentes, porém com um assunto em comum nos dois casos.
@@raultraje mas é óbvio. A vida da familia era sim idílica. A filha presa era uma das promessas do volei do botafogo, moravam em frente a praia, classe alta, eram amigos da familia de Salles que continua sendo uma das mais poderosas do BR. Rubens e Eunice não foram idealizados, eram assim mesmo. Documentos, fotos e entrevistas históricas mostram isso. Feliz Ano Velho mostra todas as frustrações com um acidente, é lógico que é mais tragico (Marcelo fala q não deixa de passar pela cabeça dele q o acidente nao teria acontecido se nao tivessem levado o pai. A vida idealizada existiria ate hoje).
@@elainercosta vc conhece uma série chamada Succession?
@@raultraje sim. E?
It's the second review that i've seen from north americans. You guys are giving 7/10 for the movie, because its nothing groundbreaking or it doesnt have a backgorund, or it doesnt have a sense of urgency.
Giving you a little context, thats exactly what Walter wanted it. Silence. Tension. Moving on without knowing. our relatives just disappeared and we couldn't speak freely, as everything was considered confronting the system.
Another thing: we have a lot of movies of the torture, of the fights, our rebel groups resisted and were crushed (almost like spy movies and action). Few survived, our president Dilma was a revolutionary warrior who, to this day, has her jaw out of place due to torture. She doesn't talk about it. Just like my father resigned from the army 6 months after he joined so as not to torture riverside dwellers in the Amazon (he doesn't talk about that either).
The focus of the narrative was the quiet way that the relatives had to move on. Silence. Fewr. To live in fear. To fight other batles. Eunice is a heroine for us just like Rubens. Just like my father.
A intenção é irrelevante pra efeito da obra. Se a obra não tem o fim em si mesma então é outra coisa, é sobre o diretor, é sobre a intenção dele, é sobre o contexto, qualquer justificativa subjetivista que acoberte a fundação autocentrada do filme
@@bugsbunnywearingasmoking801 como se não houvesse um milhao de filmes aclamados q não tem fim em si mesmo. Opiniao, claramente, de bosta.
@@elainercosta Eu vou explicar de um jeito que até uma historicista burra entende: se a qualidade do filme só se evidencia segundo fatores exógenos, é a relação dele com esses elementos que te comove e justifica a defesa do filme, em vez de qualquer qualidade intrínseca. E existem objetos intrínsecos. Ritmo e urgência, aliás, são alguns deles. E são conceitos que não nasceram com o seu umbigo ou com um ponto de inflexão histórico do seu país, mas sim estão aí desde Ilíada e Gilgamesh
@bugsbunnywearingasmoking801 qual era o ritmo ou ponto de inflexão de Roma?
Yes, exactly. It seems to go over their heads that the horror being portrayed is precisely the silence, the not knowing.
When North Americans have the courage to discover what world cinema beyond Hollywood has to offer, you will be surprised by the other aesthetics and forms of cinema that exist out there. The Oscar does not necessarily represent us. We know the quality of our cinema. Thanks for the review!
I think, as a brazilian, for me, personally, that this movie is doing an incredible job helping to remind people of those horrible times. Far ritght extremists are in a ferocious campaign to deny the dictatorship period and it's consequences but no we will never forget neither forgive. This has been more evident in 2023's attempted coup, in Brasilia, our capital. This movie is already a winner, in so many ways. Anisitia é o caralho.
Sorry, the dictatorship is not the most important in the screenplay. It's Eunice.
@@carlosmauricioardissone4736 I understand that, I guess even then, I wasn’t as absorbed as I wanted to be.
@@NathanielAhart What I meant to say is that it was a smart option to leave the dictatorship as a backdrop, otherwise it would have become an air of historical didacticism that would take the dramatic focus away from the story of Eunice and her family. I think that anyone who sees the film and wants to know more about the dictatorship can look for documentaries and other sources.
é isso.
Exato. O filme é sobre ela, não sobre a ditadura
North Americans are used to very self-explanatory movies. To truly feel or understand the story and see the greatness of the work, they would need at least some research on Brazil’s history. Unfortunately, their education is very US-centered. Imagine having to research an external conflict. Technical knowledge alone is not enough when it comes to cinema.
this "lack of tension" is the inside fear of losing even more people. the context is not a war, it's something colder and sader. it's a moral fight between search for justice and protect the family you still have.
It's interesting that you said it lacked tension because for me that's exactly what hit me the most. Like, we know the history: the "disappearance" of Rubens Paiva and the atrocities committed during the dictatorship are things we learn in school. We know what probably happened, and there are plenty of other documentaries and movies that show the violence more explicitly. Most of us knew from the start, from the date that was shown on screen and the first time the surname was mentioned, what was going to happen.
What truly makes this movie resonate though, and probably also what makes it difficult for a foreigner to understand, is how realistic the family, the reactions, the consequences are depicted. It makes you see this family, that was just like yours at the time, and see it destroyed senselessly, and then be held together by sheer willpower and tireless, monotonous, *constant* effort for months, years, decades. This isn't a story to gawk at and be shocked by and get catharsis from. There aren't any closeups of violence or desperate screams or the wailing crying and room destruction that the oscars love so much. There is a quiet dispair, and understanding and acception of what happened, and a gathering of strength by Eunice and the oldest daughters to protect the others. That's the reality, that's what a lot of us or our parents remember. The silence, the doubt, the moving on without being able to actually do so because nothing was even confirmed.
To give a personal note, which maybe of some help understanding: my mom lived in such a similar situation to them that the Paivas could literally have been my family, she was almost the same age as the youngest (Maria Beatriz) at the time and had 3 older siblings, and if we had been a little less lucky that could've been my grandfather as well. Rubens acts exactly like he did, they dressed the same, had similar social lives and manners of speaking and all, the kids had the same hobbies and activities, they even also had a little plot of land away from the city where my grandpa built a little house for them the way they wanted. It's so personal already, and nobody from my immediate family was even "disappeared"; you can imagine how much closer it is for those who went through that. And what you're left with isn't an intense hatred or a shining moment of pain, but a dull, everlasting emptiness, missing someone without closure, not being able to properly say goodbye to them because the government won't admit it. You're left with heavy silence, lying and hiding things from the kids, worrying if the people around you are spying on you. And you have to go on despite all that. That's the reality of it, and that's why the whole cinema was crying for the last hour of the movie. Because we can see ourselves in Eunice and in the family, because it's all so real. And that's also why we're so protective of this movie
@@justlola417 That makes sense, I appreciate you sharing your personal perspective on the film. And I did understand how realistic the family’s interactions were, none of that rang hollow for me at all, I just think the initial structure indicating it was building in cohesive structure that it ultimately didn’t adhere to, and I think that’s more how I feel having stepped away from the film and thinking about it some more since, but I appreciate the intent of the story!
My grandfather was captured by this same military ductatoship so this is real... When he returned, he was speechless about it. We never knew exactly what happened there. Many people say that the crimes that happens daily in our country are a reflection of this period. Thanks for your analysis!
@@animalariscoproducoes6453 And thank you for sharing your story! That’s amazing you got him back.
The lack of urgency is because we all know (here in Brazil) that justice is a failure, and she (Eunice) would never gain anything from it, just headaches, more pain and suffering. So in the end, it doesn't even matter.
It's interesting seeing a foreigner reviewing this movie. Like many (if not all) comments, I'm also brazilian and it just hits different for us. I don't think you *need* to have lived through something for it to connect with you, but I do recognize that it does make a difference and, in my opinion, taking into consideration the state of the world right now, what we see on screen speak volumes. It's terrifying to think that all of that could happen again. My parents remember the military dictatorship, that is a scar marked on their mind forever and it impacted on their decisions and the way they educated me and my sister.
Always good to see our art travelling the world. Walter Salles is one of my favorite directors and Fernanda Torres was brilliant. As you said, she conveys so much with only her facial expressions. It was an extraordinary experience watching it in the theater, it felt like everyone there was connected.
@@camilabenevenuto That’s really awesome, I’m glad that you had that experience! I also wish you all the best of luck with the future 🙏🏻
Camila,
Não me sai da cabeça o título "Ainda Estou Aqui". Tem múltiplos significados.
Quem ainda está aqui?
- a presença de Rubens Paiva, onipresente no primeiro terço do filme e cuja ausência ecoa no restante do filme?
- a Eunice de antes de 1971, que apesar de parecer diferente no restante do filme, ainda continua lá?
- ou seria um aviso a nós, espectadores? De que as fardas e coturnos "ainda estão aqui".
Como esse filme é fora de série, em todos os detalhes
@@leandroo1713
Acrescento mais um:
Na última cena, ela já acometida pelo Alzheimer, tem um "despertar" vendo na TV uma reportagem sobre a ditadura e o marido. Apesar da avassaladora doença, ela ainda está lá.
@@raisa4696 perfeito!
Thank you for your review! The book from Eunice's son, Marcelo Rubens Paiva, tells more about the terrible methods of the brazilian dictatorship regarding his father assassination but I think the choices made by the writers were perfect. It's a human story after all. We have other and equally powerfull movies (from the past and present) that bring to the newer generations an overview of that period.
it won't win of course...? oi ????
Impressionante como a profundidade, tensão e singeleza dentro de um contexto único e desenhadas tão lidamente nunca serão apreciadas nem ao menos entendidas por uma cultura tão pobre e limitada. O que falta aí, derrama aqui. Pena que a gente não aproveita tanto. Obrigado Ainda Estou Aqui por permitir que mergulhemos.
Talvez ele tenha parecido um pouco arrogante nessa fala, mas infelizmente, é a verdade. A ditadura militar é uma dor que só dói em nós, só toca a nós, é uma ferida que só está na nossa memória, e só se o filme jorrasse sangue na tela ou mostrasse torturas explicitas eles entenderiam.
Eles não aprenderam isso na escola e não é importante o suficiente para eles pesquisarem por conta própria.
Essa dor silenciosa e melancólica que o filme causa na gente só faz efeito quando se tem contexto ou se o filme mostra, para nós, não precisou (e ficou muito melhor assim, afinal, o filme era sobre a dor de uma família desestabilizada e não sobre a ditadura) mas a memória coletiva gera empatia e para um drama dar certo é preciso ter empatia.
O filme "Ainda estou aqui" é um filme brilhante de brasileiros para brasileiros, para nunca mais repetirmos os erros do passado, não um filme ganhador de Oscar.
Agora que já militei, vai tomar no cu Oscar.
@@Mayrinckthe eu fico realmente estarrecida com a limitação deles! Não conseguir compreender que o horror está justamente no silêncio, na impossibilidade de saber, de questionar, de gritar ou chorar. O medo porque é tudo arbitrário e feito a portas fechadas. Ok, o cara pode não conhecer a nossa história como nós, mas o filme retrata muito bem a angústia da Eunice e da família por não saber o que aconteceu, quando e se o Rubens iria voltar, ou mesmo a razão de aquilo estar acontecendo. Qualquer pessoa minimamente sensível é capaz de compreender essa sensação de impotência, de temor e de um luto que só vai sendo revelado aos poucos. O sujeito queria que mostrassem tudo explicitamente, porque parece que é só essa a linguagem que eles entendem.
Fernanda Torres deserves all the awards she’s nominated and also those stolen from her mom 24 years ago!
@@MosesGHC Too bad it’s such a crowded year in Best Actress, even though I still feel there’s a slight possibility she’ll be nominated!
@NathanielAhart the problem is not about being crowded... the problem is most ppl from US only see Hollywood. I can guarantee there are much more awesome actors and actresses that has an amazing acting all around thr world that you will never praise being so self-centered, thinking like the world is limited by your state lines...
Though I think this movie will hit many people, as it's very powerful, it was made for Brazilians and it does depend on our context for a full understanding. The jump to 2014, for example, is very important, but it's hard to know that if you didn't grow up knowing abt the amnesty and then saw the Commission of Truth be implemented during Dilma's presidency.
The Commission of Truth gave millions for some artists who moved to Paris and London and gave only a little money for the families of comun people who died in the underground of DOPS . People who lived those days knows the real things that happened .
As a Brazilian myself I’m so happy for Miss Torres getting international praised! Just like her mother she always gave us great work and hopefully she gets that nomination 🙏🏻
at 20 she won a Prix d'interprétation féminine in the Cannes festival. So yeah, pretty much internationaly praised!
A mulher ganhou a palma de ouro por melhor atuação feminina haha em termos de carreira, acho que esse é um reconhecimento maior do que um oscar, mas seria legal por conta dos momentos da carreira, ne.
I was really anxious to see how this movie would reach foreigners, and your review was super honest and relatable.
@@anurb01 Thank you, I appreciate your kind words!
Great review, Nathaniel!
This film communicates a lot with brazilians, as it was a period of great sadness for our people.
And, I dont know if you know, part of our people has been calling for a return to the military dictatorship.
So, somehow, “they are still here”.
Thanks for the great review
@@leandroo1713 Wow, that’s such a scary thought to ponder. Thank you for enlightening me on the fact and for your kind words!
@@NathanielAhartwhat he said is true. And one of the reasons this movie is such a huge success in Brasil right now, people think it is important to remember the horror of the Dictatorship
@@lucianac4388 At least you guys have some sense of solidarity when it comes to that! Can’t say the same about my country lol
The only thing I could think on the first part of the movie: Are they really going to destroy this happy family? Than proceed to feel just everything the main character was feeling…😢
Without the slightest doubt, one of the best films of all time. Fernanda Montegro only needed 2 seconds of screen time to make a full theater cry and Fernanda Torres delivers one of the most brilliant works an actress could do. An extremely necessary film to not leave the past forgotten and remind us that the fight for and maintenance of democracy must be constant!!!
Uhhhh what? It was ok
This is movie about Brasil, but I hope other people can get it too
O filme estreou aqui no Brasil na última semana e se tornou um fenômeno de público. Assisti ontem e me emocionei demais. Parabéns pelo seu trabalho. Ganhou um escrito. Saudações!!
As a Brazilian, this film is wonderful and incredible. Fernanda Torres and Selton Mello are my favorite actors. Fernanda Torres is well known here in Brazil for her role in comedies, so much so that she became a meme on the internet for her roles on Brazilian TV and her comedic interviews. Selton Mello is a versatile actor, he is one of the best cartoon voice actors, I will never forget when he dubbed some films for Disney in Portuguese. The film is precious and touching for Brazilians, perhaps for other people the film cannot touch our hearts as much as it did.
eu acho que a escolha por mostrar menos dor da eunice é justamente o que dá nome ao filme, ele retrata acima de tudo a força que a mãe de uma família de 5 crianças teve que ter enquanto lidava com tudo isso pra sustentar a sua família e prezar o bem e a segurança de suas crianças
I love your raves for Fernanda Torres
@@pedroaugustopinheiro She deserves it!
@@NathanielAhart have you seen Emília Pérez? Is Torres performance better than gascon? I’m asking this because I think they will compete for the same votes
@@pedroaugustopinheiro No, I unfortunately haven’t yet, but I highly doubt Torres has it in the bag like Gascon has. Haven’t even seeing the movie, there’s no way she doesn’t get nominated for that performance.
Fernanda Torres is extraordinary in this film, and feserv a nomination 👏👏👏👏👏👏
I love film too, and I agree that the passage of time in the middle where Fernanda Torres appears with gray hair is not done in the best way, I wish we had seen more of the family's life after moving house, Eunice Paiva's life was incredible in many ways and this was not portrayed in the film. but none of this is a big problem and the performances are PHENOMENAL as you pointed out even the kids did well.
9.5/10
Cheers for reviewing a Brazilian movie, it's nice to see people enjoying our stuff.
What you missed wasn't there for a matter of respect to the history this people lived. Meireles is a friend of the family i ln real life. He use to go to that house. That's why he keeps it chill.
And he wants to show that the violence isn't more important than how she took care of things.
Have a look agajn with these eyes
@@J.Barreto I hate to retread the same comments that I have put on here previously, but I don’t think I properly articulated my thoughts when I recorded this, so I will properly explain myself lol.
I suppose after thinking about it, I don’t want it to be sensationalized, but the momentum the script was building from a structural standpoint at the beginning I still feel completely drops and it doesn’t fully come together in the way a film like Central Station does. The leap forward in time almost feels like it was tacked on, even though it obviously held a lot of weight, so I suppose the film felt jarring and a little loose for me, but I more than certainly appreciate your perspective!
@NathanielAhart does make sense. It's a real story though, life is different from fiction. Like they do show the dog dying, but they don't show Marcelo getting paraplegic by diving into a stone in a river, we only see him in the wheel chair later.
That would be a Moment with so much conflict for that family that was already going through so much... But Meireles decided that it wasn't necessary, we had already understood the river of shit that family was going through.
If this was food, I would say that yeah, although it's not as well spiced as food from great restaurants, it's simple and made with love.
I ain't saying it's a perfect movie, but it's a 8.5 - 9 to me. Don't know, might also be because im living here in the moment, we are seeing a risk of another dictatorships just around the corner, and I would like as many people as possible to appreciate the heck out of this movie, so it might be a well understood warning.
Btw, if you would like, have a look on some other Brazilian filmes close to this one.
"O ano que meus pais saíram de férias" (About parents and their children through those times)
"O que é isso companheiro" (in this case they show an American Embassador that got kidnapped, instead of the Swiss).
"Mariguella" (about a man who fought the dictatorship).
@ Awesome, thanks for the recommendations!
Caro Nathaniel Ahart, espero que tenha o botão do 'Google Translate' pra você entender meu comentário.
Sobre a sua opinião de que o filme se torna pouco urgente na segunda metade, isso se evidencia pela busca angustiante de Eunice em saber o que aconteceu com seu marido, Rubens, mas também no impacto que isso trouxa à sua família. Não é um filme para retratar a violência explícita da Ditadura Militar, mas justamente o vazio existencial que deixa na família de quem foi capturado por ela. E um vazio não é urgente, um vazio é algo que te limita, que te desacelera, que te faz viver "um dia de cada vez". E isso é, realmente, muito lento por ser uma coisa impossível de se retirar. A agonia silenciosa de Eunice Paiva se faz pela necessidade de ver sua família bem, mesmo dentro daquele mar de horrores da ausência do pai, da dificuldade financeira, da mudança de padrão de vida. Quanto aos avanços de tempo, é porque toda a trama do filme é a "busca". Primeiramente a busca por Rubens Paiva e, depois, na impossibilidade de tê-lo novamente, a busca por respostas. E essas respostas só vieram, de fato, em 1996 e um esclarecimento final em 2014.
Saudações!
Good review! Do you know any streamings that are showing the movie? I recommended it to my English friend but he couldn't find it anywhere
@@marialuisa9169 Thank you! And no, I’m not even sure if it has been released in limited yet, even in the States, so the wait might be just a little longer before that happens.
Just watched this yesterday. I cried a lot of times since the beginning. It’s tense and sad when you dont know the historical moment, a happy family broken up. But for us, that lived through it, or were born after but heard stories from our parents and learned about it in school, it hurts. And it hurts because it’s fresh and it’s shameful. There was no real closure. Yes, democracy came back (and since then has had its ups and downs), but people still ask for the dictatorship to come back. So many families never got to bury their loved ones or even know how or why they died. And no one paid for it. We never went after the criminals who killed and tortured innocent people.
I think it was great they focused on her and her strength in living after losing so much (her husband, her sense of self, her sense of safety), and it’s great people are learning a little about what happened to us. I wish there was a way to say how we got there and who financed it (one guess!). Eunice lost Rubens and then had to live another 14 years in the dictatorship. And she still had strength to fight for others, like he was doing it. She had felt in so many ways how cruel the regime was and she went back for more. Imagine smiling because you finally have a death certificate for your husband who has been dead for longer than you were married. 25 years later. Just a piece of paper.
For us, it’s gut wrenching, because even in the first minutes, they are happy but we knew it wouldnt last. All the plans made, all the promises, talking about the end of the regime, of getting back what they lost. You became almost as paranoid as Eunice, just wainting for it to come. And like them, you couldnt even process that was the last time you were gonna see Rubens. No way to say goodbye. He was going to answer questions and then he was gone for 25 years without so much as the acknowledgement of his death.
I think I liked the movie for the things you disliked.
The beauty of the film lies in the urgency that is not given to the case. The dialogues that don’t happen between the mother and her children (at the time, this was common because children tend to repeat things at moments that could be dangerous). The speeches the mother didn’t give and the fights she didn’t have, because there was nothing to be done against the government.
This could have been a film full of exaggerated performances, lots of screaming and crying. But that wasn’t possible in Brazil at the time. No movie or series about the dictatorship has ever represented this feeling so well.
I found the subtlety beautiful, and the sometimes silent performances that still speak volumes.
@@desculpeoaue I appreciate that take! Though to be fair, I did say that the performances were excellent :)
They just uncovered a plan of a black ops branch of the military to kidnap the democratic elect president and a supreme court judge, so I think that really weighed on me as I watched it as a Brazilian. I’m glad you had nice thoughts of some moments in it though! Fernanda Torres is known for her comedy here, so this role was a spectacular surprise.
@@byejesper Oh wow, I didn’t even know she’s primarily known for that! Definitely the mark of a great performer.
@@NathanielAhart Yeah, she is! She even joked that she thought of this movie as “a way to save her drama career” lmao She’s hilarious
I think it'll win. It's best than Interest zone that won last year.
@@BIPfilmes If Emilia Peréz is in Best Picture, it certainly won’t. They always go with the movie nominated for the biggest award and that is a star that has never been broken.
The book is really good
Hey awesome review! Do you know when this movie releases in the US?i cant find it anywhere
@@teddy8423 Thank you! And I’m not sure when, but it should be out by the end of the year in limited release.
The movie is minimalist, what doesn't mean superficial. If this movie was made in the USA, it would really melodramatic and overacting. Just like you said, Fernanda says multiple words only with her facial expressions.
@@luizsergiobezerradasilva2261 That is very true, and I don’t think it’s superficial at all, I just felt like it lost structural momentum.
@NathanielAhart I've just returned from movies and have it fresh, and I agree. By the third act, especially when the family left Rio for São Paulo I felt a shift at the rhythm of the movie. HOWEVER, as someone who always seeks for the less obvious choice I'm fine with it.
@@NathanielAhart I've just realized why you feel that you lost the momentum. Let's say that the third act of the movie is when the family leaves Rio to São Paulo. We jump in time from the 70's to the 90's, the dictatorship had ended already. So there wasn't a reason to have "more action" going on like when Eunice and her daughter were kidnapped.
When Eunice is getting interviewed by the reporters, there's one asking if it matters so much searching about the past while there were more important things after the redemocratization. This exemplifies how that momentum was left behind.
There’s a great difference between the American way of making movies , and the Brazilian way. Brazilian movies are about realism , the more realistic the dialogues and the scenes are , the more we like it , it’s raw and not over dramatic , Hollywood has it’s own parameters, it’s all about grandiosity and shocking the audience, there’s always catchy/sarcastic lines in dialogues , and there’s always the need of a final lesson to take from the narrative. I’m not saying one is better than the other , it’s just two very different ways of telling stories.
@@Aloha698 I completely understand that, but I suppose at the time of my review I wasn’t as articulate as I could have been. My whole thing is the structure of the film that I got hung up on and the way it flowed as a narrative whole. Central Station was still able to show gritty realism with sensationalizing anything, but that still felt like a well-structured story from a screenplay standpoint, then his just felt like it didn’t keep a similar momentum and follow-through, especially once the film flashes forward in time.
I'm Brazilian and I agree with you. Despite I love the actors so much, I missed more context about the climate in Brazil in that period of time, beyond the southern zone of Rio, and at least in flashback scenes, Rubens' performance as a congressman. He was a member of the PTB and supported Jango's reforms and has made memorable speeches against repression. There are audios on TH-cam. It's a story that needs to be told and retold because there is a whole apparatus to distort the facts, as the military dictatorship did back then.
That wasn’t the point of the movie though. This wasn’t a story about the regime or Rubens. It was about her. About Eunice.
I’m all for having movies about the dictatorship or even its build up. Or some of the big names of resistance. But this was about a voice they couldn’t silence and it’s clear from the title, as it adapts to several different meanings.
She was still there, after he was gone.
She was still there, even when they denied everything.
She was still there, after the regime ended and when she finally got the death certificate.
She was still there, fighting for human rights even after they threatened her.
She was still there to ask the questions and demand his -their-story was written.
And finally, she was still there, after 15 years with Alzheimer’s, able to recognize her own story. And to know that even after all she did, there was never truly justice.
how you didnt watch Motorcycle ? anyway, as brazilian I want to watch
@@saraamw I mean I watch a lot of movies lol, just haven’t had good access or gotten around to it yet
This film is spectacular
Eunice presente! Rubens Paiva presente!
Masterpiece.
I'm a brazilian and feel people are on the hype and hyper-sensitive to any criticism to it... It is a good movie with great acting from Fernanda Torres. When i left the cinema i had the same impression: the first 30 minutes are impeccable, great, dynamic and then... independent of the seriousness and good moments, the pace got strange. The transitions between periods were dry, and broke the tension that they brewed on the first part. The movie, at least for me, should've ended at the end of the first act and those 2 other periods seemed like a post-credit. They present loads of info in a new context that does not get explored or connected well... Nevertheless, i understand the need to document what happened and give the whole story. But i feel even though people don't admit it, we are too excited to have a recent movie that is able to become Oscar material, people just refuse to cast any form of criticism even though to criticize is not hating or "ruining the movie reputation". I liked it, i would say it is a 7.5/10 would watch again but i don't think it will be rewatchable like "central station", or even "aquarius"
@@j_mnzs While I will say that I do think the movie should have gone beyond the first act, I think you succinctly stated exactly how I feel about the film, especially how the film flashed forward. Glad to hear a bit of a desertion to the overall opinion on the film, albeit still a positive one!
Sou brasileiro. Fui ao cinema assistir “Ainda estou aqui”, o maior de sucesso de bilheteria do cinema nacional do pós pandemia. Fui bem animado, afinal é um filme de Walter Salles com Fernanda Torres e Selton Mello! Mas o filme me decepcionou. Achei longo, sem ritmo e com um roteiro bem preguiçoso. A impressão é que a família protagonista, especialmente o Rubens Paiva (Mello) e sua esposa Eunice (Torres) foram excessivamente idealizados e por isso não me identifiquei com nenhum dos dois, tamanha a carga trágica e estóica com que a história retrata os dois. Também tem o resto da família, que vive uma vida de sonhos numa casa de bonecas e que provavelmente continuaria pra sempre assim, não fosse o infortúnio externo causado pela repressão da ditadura. Fiquei tão incomodado que fui assistir “Feliz ano velho”, filme de 1988 dirigido por Roberto Gervitz e adaptado de outro livro do Marcelo Rubens Paiva (que conta a história do acidente que o deixou tetraplégico no auge de sua juventude), filho dos personagens representados por Selton Mello e Fernanda Torres. Dois filmes, adaptados de dois livros autobiográficos escritos pela mesma pessoa e retratando a mesma família, mas em períodos diferentes. Mas aqui eu consigo ver o quanto estas pessoas são reais, humanas, com seus erros e acertos. Eunice e Rubens Paiva aparecem menos aqui, mas me parecem muito mais humanos. O filme é muito bonito também, a fotografia é fria quando mostra a recuperação e adaptação de Marcelo e adota tons quentes quando vemos os flashbacks anteriores ao acidente. A questão política está ali, mas de forma muito mais tangente, de modo que a história se torna mais universal. Pra não pensarem que sou hater ou que quero prejudicar o cine nacional acho que vale a pena assistir “Ainda...” nos cinemas (cliente Bradesco paga meia no cinemark) e depois assistir Feliz ano velho, que voltou aos cinemas em algumas salas da rede cinesystem. É uma oportunidade única pra comparar como se faz e como se fazia cinema no Brasil em dois períodos totalmente diferentes, porém com um assunto em comum nos dois casos.
i agree 100%
"it won't win, of course" LOL
Brazil It’s Back
Vai ser o maior vexame! Vocês vão ver! Não vai ser nem indicado.
I'm still here is the better film of 2024.
"It won't win, of course..." Blunt but spot on, lol. Emilia Perez is most likely getting it. Unfortunately I don't think Brazil is getting an Oscar anytime soon.
@@gpeddino Unfortunately, I don’t think so either, but they will at least be nominated!
i hope you are all wrong and we do win this time!
@@felipemoura368 Emilia Perez is definitely winning, nothing will beat it lol
Not Fernanda, but there is a chance of winning international film.
@@JeitoPrado If Emilia Peréz gets nominated for Best Picture and this doesn’t, there’s no chance it will :/
@@NathanielAhart true! well, unless this gets best picture also/instead.. I honestly don´t understand the hype of E.Perez. The acting is great, ok, and a good movie.. but "better" movie overall? (Imdb ratings says it all - E.Perez 6.8, I´m Still Here 8.9) I think this might be the case that 5 years from now we´ll be saying "how on earth this film won over I´m Still Here?" (and over Seeds of Sacred Figg as well?) I have a guess, because it´s a Netflix made for oscar + money + more money..
@ I honestly have no idea why people are going as crazy for it as they are, but I will look strange how well it did this awards season looking back.
the best movie
No offense (really) but, like so many people said, somethings you have to see or at least feel the memories.
My grandfather was from MDB (the authorized opposition to the government regime) and my family tells me that they hide some political fugitives.
Whenever I hear/watch/read about this time i always feel like I'm suffocating a bit. I think that's what they felt, this constant watcher, always ready to punish.
7/10 lol 😂😂😂😂😂😂
Bolsonaro 2026
Pa un ocu do Oscar
Acting was great very boring should be shorter but important message.
Good movie, good actors, good art at all; but, as brazilian, i just can't suport that type o storie anymore, is always the same thing
@@ovinecostass You don’t think the lore personal approach to this story was different from what you’ve seen before? I’m actually genuinely curious haha!
@@NathanielAhart as far as the art of telling stories is concerned, yes, it does seem valuable to me, but the point is that there is so much material about this historical period that it makes me saturated in terms of consumption. XD
I agree It is such a boring movie and was not made for Brazilian people. This is only another movie for the Caviar Left ( rich people that love comunism , Luis Vuitton , New York , luxury hotels , expensive watches , First class flights and ALL the goods that public money can buy ) .
@@alexandrecheconi4801 é literalmente um filme de uma coisa que aconteceu de verdade, não é um filme de ficção, mas pelo seu comentário da pra saber de quem vc seria cachorrinha em 1970
You far right people stink so much that you can't pass unnoticed! Y'all hate this because it's about a real story that you happen to support even if it costs your own senseless lives 😂