- Details
-
Tuesday, 21 January 2025
-
Written by Adam Taylor
The Brazilian political biographical drama I’m Still Here (Portuguese: Ainda Estou Aqui), directed by Walter Salles, is set to premiere at the Cameo Art House Theatre on Feb. 7. This 2024 release has already garnered international acclaim, including a Golden Globe win for Best Actress in a Motion Picture – Drama for Fernanda Torres and a nomination for Best Foreign Language Film.
Based on Marcelo Rubens Paiva’s 2015 memoir, the film chronicles the life of his mother Eunice Paiva. With a screenplay by Murilo Hauser and Heitor Lorega, I’m Still Here brings an intimate and harrowing chapter of Brazilian history to the screen, resonating with audiences worldwide.
A Story of Courage and Loss
In 1970, former congressman Rubens Paiva returns to Rio de Janeiro after six years of self-exile following the revocation of his tenure during the 1964 Brazilian coup d’état. Settling into an idyllic home near Leblon Beach with his wife Eunice (played by Torres and Fernanda Montenegro) and their five children, Paiva resumes his civil career while quietly supporting expatriates.
Amidst rising political tensions sparked by the kidnapping of the Swiss ambassador by far-left revolutionary movements, Paiva’s home is raided by the military in January 1971. He is arrested and subsequently disappears. Eunice, refusing to stay silent, publicly demands answers, leading to her own arrest and 12 days of torture. Their teenage daughter, Eliana, is also imprisoned, though she is released after 24 hours. The family’s persistence in seeking justice ignites moderate media outrage, but Eunice presses on.
A Critical and Commercial Success
Since its premiere at the 81st Venice International Film Festival, where it won Best Screenplay, I’m Still Here has achieved remarkable success, grossing $11.3 million on a $1.5 million budget. It has been recognized among the National Board of Review’s Top 5 International Films of 2024 and has advanced to the December shortlist for the 97th Academy Awards’ Best International Feature Film.
Despite facing an attempted boycott by Brazil’s far-right, the film has resonated deeply with
audiences, further cementing its place in modern cinema.
Brazil’s Alarming Pattern of Police Violence
The issues explored in I’m Still Here remain disturbingly relevant today. Alarmingly, individuals of African descent are three times more likely to become victims of this violence than their white counterparts. The UN has noted that these acts of brutality are not isolated incidents but form an “alarming pattern” that has deeply eroded public trust in law enforcement, especially among marginalized communities. Most homes have high walls with barbed wire or glass on tops and eclectic fences; all added in the time of military dictatorship.
This erosion of trust was echoed by a personal experience I had during one of my many visits to Brazil. I’ve been there over a dozen times and witnessed firsthand the fear that permeates interactions with police. Unlike in the U.S., Brazilian police are heavily militarized, routinely carrying large firearms and traveling in groups of three or four. I once saw a routine traffic stop for speeding in which all four officers approached the driver with their guns drawn as usual protocol.
A Brazilian friend of mine recently lost his uncle to police violence in December. Homeless and struggling with addiction, his uncle’s death remains shrouded in unclear circumstances. He was Afro-Brazilian. Such incidents highlight the immunity that Brazilian police enjoy, as they are rarely, if ever, held accountable for their actions.
Why I’m Still Here Matters
This film is not only a powerful tribute to those who fought for justice during Brazil’s darkest years but also a stark reminder of the dangers of unchecked government power. As Brazil faces increasing political instability and growing concerns over authoritarianism, I’m Still Here is a chillingly relevant reflection of how history can repeat itself.
According to the United Nations, since 2019, Brazil has seen a rise in aggressive and militarized policing, particularly under far-right leadership. In Rio de Janeiro alone, police killed 1,810 people that year — an average of five deaths per day. The Brazilian police kill an average of 17 people per day.
“In 2024, the Military Police in Brazil killed 6,296 people, equivalent to eight times the rate of people killed by police in the United States. The overwhelming majority of these victims are Black, poor, young, male, non-educated, and living in urban peripheries," reports North American Congress on Latin America.
Why is a movie that takes place in the ‘70s so relevant and still so urgent in 2024? Isn't this movie about a distant past, that of a former military regime that a democratic regime has replaced? On paper, yes, however… The military police in Brazil and its actions show us a brutal reality — Brazil has not overcome its dictatorial past since the current police force is a kind of an abomination in the current democratic world. Even though Brazil has a civil police force, the military police do the vast majority of police operations on the streets and among the civilians.
The militaries are still dangerously present amongst the civilian Brazilian population, constantly acting aggressively and lethally in the country, under the warfare mentality of the military period — which is not a practice in the vast majority of countries worldwide.
CNN Brasil featured, the very month the movie came out, the military police videotaped, throwing a man off a bridge. Police said it was an exception because the police officer was “mentally unstable at the time”.
Brazil’s Heart and Spirit
Despite rising violence towards certain groups in Brazil, the country is still a land of breathtaking beauty, vibrant culture, and deeply rooted values. Its people are known for their warmth, love of life, and the importance they place on family. From the rich flavors of feijoada and pão de queijo to the rhythmic beats of samba and the stunning landscapes of the Amazon rainforest, Brazil is a country that celebrates resilience and connection.
Don’t Miss I’m Still Here
Tickets for I’m Still Here are now available at the Cameo Art House Theatre. The film begins its run on February 7th and offers a rare opportunity to experience a globally acclaimed masterpiece that shines a light on Brazil’s fight for justice and human rights.
(Photo courtesy of Cameo Art House Theatre)
- Details
-
Tuesday, 21 January 2025
-
Written by Sara Bussman, Arts Council of Fayetteville
As celebrations gear up across Cumberland County for Black History Month, the Arts Council opens The Seed and The Sower on Jan. 24. The exhibit centers on strength and generational connection through works by Black female artists.
The Seed and The Sower was an idea that came to curator Teresa Bone through her connection to her own ancestry. After the passing of her paternal grandmother, Bone found herself considering which of her own traits came from the woman she knew as a young girl.
Bone started her art journey in her youth, so processing bigger questions about lineage and life came more easily through art.
“In the last several years, my work as an artist and as a curator isn’t just about things being pretty (though I’d still like to think what I produce is nice to look at),” remarked Bone about the exhibit. “The heart of my work now is about narratives. It’s about stories. What is the message that I am trying to convey?”
Despite the personal origins of the show, Bone wants viewers to feel connected to the work and each other.
“This show is focused on familial narratives, but in a larger view, our lives have an effect on every person we meet,” said Bone. “Those who came before us (family, mentors, teachers, friends), left an impact on our lives, and we- in turn, will leave our own impact on others.”
Bone is excited to see how artists interpret this theme of interconnectedness and hopes the exhibit shows a broad spectrum of work. The exhibit reflects a national juried art call inviting 2D and 3D works from artists from across the US. The call particularly encouraged art from Black female artists, asking for a “multi-layered study of time, connections, and heritage as seen specifically through the lens of Black women’s eyes.”
According to a 2022 study done by the Burns Halperin Report, Black female artists represent 0.5% of collected holdings in the largest American art museums. The Arts Council hopes to address some of this disparity by supporting The Seed and The Sower. The opening reception on January 24 will further celebrate the role of Black female artists with performances from musicians and poets.
The performances are curated by the local nonprofit Book Black Women whose mission is to celebrate, amplify, and empower Black women in the arts and creative industries.
For curator Teresa Bone, the exhibit evokes a look at a generational timescale.
“This cycle never ends. ‘The Seed’ will always eventually become ‘the Sower’, and the descendent will one day be the ancestor. We should all be mindful of what we ‘sow.’”
The Seed and the Sower will be on display in the Arts Council’s gallery until Feb. 28 with a free Opening Reception on Jan. 24 from 6 p.m. to 8 p.m. For regular updates on the Arts Council, follow the organization @artscouncilfay on Facebook, Instagram, LinkedIn, and/or YouTube.
(Photo courtesy of Arts Council of Fayetteville/Cumberland county)
How to resolve AdBlock issue? 
