Walter Salles: Brazil’s International Film Maestro and the Making of ‘I’m Still Here’
In the world of cinema, Walter Salles stands out as Brazil’s most internationally celebrated film-maker. At 68, his illustrious career has taken him from the poignant road movie Central Station in 1998, which earned the Golden Bear at the Berlin film festival and two Oscar nominations, to more recent works like Dark Water and On the Road.
Salles’ return to Brazil with I’m Still Here marked a significant milestone—his first feature in 12 years. This film tells the true story of Eunice Paiva, an activist and mother facing the forced disappearance of her husband during Brazil’s military dictatorship. Last month, the film’s star, Fernanda Torres, received a Golden Globe for best actress, and the movie is up for three Oscars, including a first-ever nomination for best picture for Brazilian cinema.
Personal Connection to the Paiva Family
Salles’ connection to the Paiva family dates back to his adolescence. At 13, he befriended Nalu, one of Eunice’s children, through a mutual friend. This unique friendship opened a window into a family deeply involved in political discourse and alternatives to Brazil’s military regime. Salles sought to capture this in his film, making the audience feel part of the community he grew up with, rather than observing it from a distance.
The Film’s Political Relevance
Although primarily set in the 1970s, I’m Still Here echoes contemporary Brazil’s political climate. As the film developed, the rise of the extreme right in Brazil made it clear that their democracy was fragile. Salles recognized his work as a reflection of both past and present, making it exceptionally relevant today.
Fernanda Torres and the Legacy of Fernanda Montenegro
Cast first as Fernanda Montenegro, Salles was unsure if Torres, known for her versatility in comedy, drama, and writing, would take the role. Once she agreed, Torres brought her extraordinary dedication to cinema, transforming her understanding into a role that earned her a Golden Globe nomination.
The Oscar nomination for Torres continues a legacy started by her mother, Fernanda Montenegro, who starred in Salles’ Central Station and was nominated in 1999. For Salles, this presents a broader recognition of outstanding Brazilian acting talent.
Awards and Noise in the Industry
Salles notes a shift in the Oscars since his last nomination for The Motorcycle Diaries in 2005. Back then, the campaign was less intensive and focused more on the film itself. Now, he perceives an industry inundated with noise, suggesting a loss of focus on cinema’s essence.
The actor Emilia Pérez’s star, Karla Sofía Gascón, criticized Torres’s social media campaign during an awards event. However, Salles maintained his distance, valuing the gesture of inclusivity in acting categories as the true spirit of cinema.
Best Picture Nomination and Critics’ Reactions
Salles expressed surprise at I’m Still Here’s best picture nomination, especially considering low viewership. However, he credits the Academy’s increased openness to polyphonic narratives, noting that films like Roma and Parasite have opened the floodgates for a more diverse range of stories.
Reconnecting with Home
Salles reflects on his preference for working within Brazilian culture, explaining it through a quote by Duke Ellington: “The first step to become a musician is to listen to great musicians, and the second, is to listen to yourself.” Salles feels more rooted in his own culture, allowing for better thematic development and character portrayal.
Adapting Stories Across Cultures
Salles discusses his approach to adapting narratives from different cultures, citing the journey he undertook for The Motorcycle Diaries to deepen his understanding of Southern American roots. However, he acknowledges that adaptation extends beyond admiration, emphasizing the importance of personal connection and cultural immersion.
Fan Response to ‘I’m Still Here’
The film garnered significant attention and support in Brazil, thriving during a time when cinema faced challenges due to the COVID-19 pandemic and political turmoil. The public’s response highlighted a renewed interest in collective experiences and a reconnection with Brazil’s past.
Conclusion: The Future of Brazilian Cinema
Walter Salles’ journey with I’m Still Here exemplifies his commitment to storytelling that transcends time and borders. By weaving deeply personal narratives with broader political commentary, Salles not only honors Brazil’s past but also resonates with its present, providing a beacon for future generations.
We invite our readers to engage with this compelling narrative, immersing oneself in the film and Salles’ insights. Join us in celebrating the richness of Brazilian cinema and its storytellers.
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