[PT-BR/EN] “Ainda Estou Aqui”, a (possível) nova chance do Brasil no Oscar

Salles vem despontando na função de diretor, enquanto Torres vem despontando na função de melhor atriz. O foco na Torres vem sendo maior (e mais emblemático) porque sua mãe, Fernanda Montenegro perdeu o prêmio de Melhor Atriz em 1999, e caso ela venha a ser indicada (o que já seria um grande mérito) e possivelmente ganhe a estatueta na mesma categoria, haverá uma espécie de “reparação história” (com um pequeno toque de vingança) para o cinema brasileiro.

Certamente muitas coisas ainda podem acontecer, mas já é um fato dizer que o poder do cinema feito pelo Brasil está alcançando novos patamares. Sendo assim, ver nomes tão importantes despontando neste cenário internacional traz ainda mais esperança para o futuro do cinema que é feito por aqui. Não se trata unicamente sobre premiações em si, mas também sobre o reconhecimento de uma arte tão importante e que ainda é tão negligenciada pelo mundo à fora.

[EN]

After 25 years, the name of filmmaker Walter Salles begins to orbit the international awards scene again because of his most recent movie, I'm Still Here. In addition to his name, another name that is causing even more excitement in the media outside of Brazil is that of actress Fernanda Torres, who has been hailed by some critics as a name that deserves to be considered in the next awards season, especially when the subject is the Oscars.

In the plot (which is based on real events, as well as being inspired by the book by writer Marcelo Rubens Paiva), Torres plays Eunice Paiva, mother of five children, and who is in search of Rubens Paiva (Selton Mello). The civil engineer and politician is forcibly taken from home by the military police, raising doubts about the behavior involved in the military dictatorship regime in 1971. After the episode, Eunice struggles to try to get justice, and reinvent herself to save her family.

The movie was recently shown at the Venice Film Festival, and after its screening it was well-received by the audience who were there with a round of applause that lasted around 10 minutes. Soon after, specialized critics began to emerge, and with them, good news for Brazilian cinema, which has once again been recognized internationally and the projection of Oscars nominations (in addition to other awards) has become a real focus for everyone. those involved in the movie.

Salles has emerged as director, while Torres has emerged as best actress. The focus on Torres has been greater (and more emblematic) because her mother, Fernanda Montenegro lost the award for Best Actress in 1999, and if she were to be nominated (which would be a great merit) and possibly win the statuette in the same category, there will be a kind of “historical reparation” (with a small touch of revenge) for Brazilian cinema.

Certainly, many things can still happen, but it is already a fact to say that the power of cinema made in Brazil is reaching new heights. Therefore, seeing such important names emerging on this international scene brings even more hope for the future of cinema made here. It's not just about awards per se, but also about the recognition of such an important art that is still so neglected by the outside world.