The film “I’m Still Here” could significantly influence Brazil’s political landscape if it wins at the Oscars. Set against the backdrop of Brazil’s military dictatorship, it has heightened public awareness of past and present democratic threats. The film’s success has made its star, Fernanda Torres, a key figure in advocating for justice against political oppression and speaks to the fragility of democratic systems.
The Oscars have historically influenced societal views on issues such as gay rights, war, and democracy. With the imminent ceremony, the anticipated impact of the film “I’m Still Here,” a historical drama directed by Walter Salles about political oppression in Brazil, may prompt critical conversations surrounding democracy in Brazil. Its potential Oscar win on March 2 could galvanize action from the Supreme Court against former president Jair Bolsonaro and counteract a rising far-right movement.
Rafael Ioris, a Latin American scholar, highlights the film’s significance in illustrating the threats to democracy through a personal narrative. He believes that an Oscar win could further enhance the film’s impact and possibly influence the Supreme Court’s stance against far-right ideologies. Fernanda Torres is a strong contender for Best Actress, with the film also favored for Best International Feature, and possibly even Best Picture.
Having sold approximately five million tickets, “I’m Still Here” has surpassed previous Brazilian films, ranking high on the box office chart and attracting considerable attention in both Brazil and the U.S. This success has transformed Torres into a social media phenomenon, embodying the struggle against totalitarianism and helping the public relate to historical events on a more personal level.
Bruna Santos, of The Wilson Center, notes the film’s relatability to younger audiences, bringing history to life through its portrayal of a family affected by dictatorship. The film has created a cycle where its popularity fuels political awareness while simultaneously impacting the political climate in Brazil. It may influence the Supreme Court’s upcoming trial of Bolsonaro, charged with undermining democracy through various illegal actions.
Legal experts assert that public sentiment could sway the court’s decision as Torres’ visibility rises amid ongoing scrutiny against far-right proponents. Though Bolsonaro remains politically barred for now, his potential return remains a concern, especially without significant repercussions from the judiciary. Wálter Fanganiello Maierovitch emphasizes the pressing need for public education about democracy, with the film serving as a reminder of past dictatorship atrocities to prevent history from repeating itself.
The film underscores the oppressive legacy of Brazil’s military regime, whose impacts linger in societal consciousness today. Bolsonaro’s presidency was marked by militaristic policies and assaults on democratic principles. Comparisons have been drawn between recent political unrest in Brazil and the U.S. Capitol insurrection, showcasing ongoing threats to democracy that films like “I’m Still Here” invoke.
While the filmmakers didn’t initially intend to comment on current events, the film’s messages have proven relevant, linking past struggles with contemporary issues. Salles indicated that advocacy for institutional reform, inspired by Eunice Paiva’s legal battles, is necessary to enact change in Brazil today. Discussions have emerged around reforming Brazil’s controversial Amnesty Law, providing a focal point for activists seeking accountability from those involved in dictatorship crimes.
Experts caution against undermining the complex relationship between the military and the public, as Lula’s government must navigate prevailing sentiments favoring military influence. Santos posits that storytelling through visual media like the film plays a vital role in shifting societal perceptions toward recognizing democratic values. In Brazil, the memory of authoritarianism remains potent, necessitating ongoing vigilance against regression into autocracy.
Despite the film’s significant ticket sales, it represents a fraction of Brazil’s population, suggesting that broader societal engagement is necessary for lasting change. Major media productions, like contemporary telenovelas, could further promote awareness of historical injustices, extending the film’s impact beyond theatrical releases.
In the aftermath of the film’s release, Brazil’s National Council of Justice has begun mandating explicit documentation of deaths caused by the dictatorship, reflecting a growing acknowledgment. The case related to Rubens Paiva, which stalled under previous political administrations, is reemerging due to the film’s influence, presenting renewed hope for justice and a reminder of the importance of accountability.
The renewed attention on Paiva’s case illustrates the film’s ability to mobilize public interest and pressure legal processes, confirming that visual storytelling can indeed spur significant societal change. Salles expressed satisfaction in revealing this influential power, remarking on the underestimation of art’s role in changing opinions and advancing political awareness.
The potential Oscar win for “I’m Still Here” symbolizes more than just recognition; it embodies a movement towards political engagement and accountability in Brazil. The film has begun to reshape public perception of historical injustices and democracy, serving as a critical tool in the fight against authoritarianism. As society grapples with the lessons of its past, the impact of film can catalyze necessary legal and social reforms, influencing both current and future political landscapes.
Original Source: www.hollywoodreporter.com
