On March 2, 2025, the Dolby Theatre in Los Angeles became the stage for a historic milestone in Brazilian cinema during the 97th Academy Awards, as I’m Still Here was crowned Best International Film, outshining formidable contenders like Emilia Pérez (France), The Girl with the Needle (Denmark), The Seed of the Sacred Fig (Germany), and Flow (Latvia). Directed by Walter Salles, the film made history with three Oscar nominations—Best Picture, Best Actress for Fernanda Torres, and Best International Film—a first for a Brazilian feature entirely in Portuguese. Launched in Brazil in November 2024, I’m Still Here drew over 4.1 million viewers, grossing 85.41 million reais, making it the fifth highest-grossing Brazilian film ever. Inspired by the real-life story of Eunice Paiva, who fought for justice during Brazil’s military dictatorship after her husband Rubens Paiva’s forced disappearance in the 1970s, the film moved global audiences and earned acclaim at festivals like Venice and Palm Springs before its triumph at the Dolby Theatre.
The road to the Oscar was paved with accolades, including the FIPRESCI Award for Best International Film at the Palm Springs Film Festival and Best Screenplay at the Venice Film Festival, plus Golden Globe and Satellite Awards wins for Fernanda Torres. The story of resilience against political oppression resonated deeply with Academy voters, especially as Emilia Pérez, despite its 13 nominations, faltered amid controversies tied to Karla Sofía Gascón.
Another standout was the film’s cultural impact. With a massive box office and a narrative connecting viewers to universal themes of memory and resistance, I’m Still Here not only elevated Brazil to the pinnacle of world cinema but also shed light on a dark chapter of its history, celebrated globally on Oscar night.
A frontrunner that surged late
I’m Still Here gained momentum throughout the awards season, particularly after its Venice debut, but it was in the final stretch that it cemented its lead, overtaking early favorite Emilia Pérez.
The controversy over Gascón’s resurfaced tweets shifted the spotlight, giving the Brazilian film an edge among Academy members.
The emotional core of the story
Portraying Eunice Paiva, Fernanda Torres anchors I’m Still Here with a gripping performance. The film traces Paiva’s journey from an ordinary housewife to a relentless activist following her husband Rubens Paiva’s disappearance under Brazil’s military dictatorship in the 1970s. Torres’s portrayal, honored with Golden Globe and Satellite Awards, blends vulnerability and strength, capturing the character’s pain and perseverance.
Unlike Flow, with its dialogue-free visual storytelling, or The Seed of the Sacred Fig, tackling Iran’s political tensions, I’m Still Here stands out for its universal human narrative. Walter Salles’s refined direction shifts between intimate family moments and the regime’s brutality, a contrast that struck a chord at the Festival do Rio.
The film’s 85.41 million reais box office haul in Brazil, with over 4.1 million tickets sold, reflects its commercial appeal and deep emotional resonance with local audiences, while also captivating international viewers with its justice-driven message.
Walter Salles’s triumphant return
Walter Salles reclaimed his spot on the global stage with I’m Still Here after years away from major projects. Known for Central Station, which earned Brazil an Oscar nod in 1999, Salles brought seasoned artistry that wowed critics and voters alike. A co-production with France, the film balances a local story with universal themes of justice and resilience.
The screenplay, co-written by Salles and Murilo Hauser and awarded at Venice, was pivotal to its success. The cinematography, capturing the dictatorship’s grim tones alongside glimmers of hope, paired with a tension-building score, crafted a cohesive and impactful work.
In Brazil, its November 2024 release packed theaters, with sold-out screenings in cities like São Paulo and Rio de Janeiro. The Oscar win cements Salles as a leading figure in Brazilian cinema, now celebrated worldwide.
A tight race in the international category
The Best International Film category at the 2025 Oscars was fiercely competitive. Emilia Pérez, with 13 nominations, led early predictions but stumbled amid Gascón’s controversy, while The Girl with the Needle delivered a striking Danish historical drama.
Flow, a dual nominee with a Best Animation win, and The Seed of the Sacred Fig, with its critique of Iran’s regime, posed strong challenges, yet I’m Still Here prevailed with its raw emotion and approachable storytelling.
Key milestones on the Oscar path
The ascent of I’m Still Here to Oscar glory unfolded through defining moments:
- September 2024: Debuted at Venice, winning Best Screenplay.
- November 2024: Released in Brazil, drawing 4.1 million viewers.
- January 2025: Earned three Oscar nods, including Best International Film.
- February 2025: Took the FIPRESCI at Palm Springs.
- March 2, 2025: Triumphed at the Dolby Theatre.
These steps highlight the film’s steady rise throughout the season.
Elements that clinched the win
I’m Still Here’s Oscar success hinged on standout features that impressed voters:
- Fernanda Torres’s visceral performance, lauded at Golden Globes and Satellite Awards.
- Venice-winning screenplay, focusing on Eunice Paiva’s resilience.
- Walter Salles’s direction, merging emotion with historical depth.
- Box office of 85.41 million reais, with 4.1 million tickets sold.
- Universal theme of resistance against authoritarianism, bridging cultures.
These factors set the film apart in a crowded field.
The global resonance of the Brazilian film
Winning Best International Film marks I’m Still Here as a watershed moment for Brazilian and Latin cinema. Grossing 85.41 million reais with over 4.1 million viewers in Brazil, it ranks as the fifth highest-grossing national film, reflecting its cultural and commercial heft. Eunice Paiva’s story of battling the dictatorship for justice after Rubens Paiva’s disappearance gained traction at Venice and Palm Springs, moving diverse audiences.
The narrative spotlighted Brazil’s dark 1970s under military rule, connecting with global viewers through its message of defiance. At the Dolby Theatre, Walter Salles dedicated the award to the Brazilian people and the Paiva family, emphasizing the power of memory and truth.
In Brazil, the film’s success sparked renewed interest in dictatorship-era stories, with local filmmakers exploring archives for fresh projects, amplified by the Oscar’s international echo.
A historic night for Brazilian cinema
Stepping onto the Dolby Theatre stage was a proud moment for Walter Salles and Fernanda Torres. In his speech, Salles thanked the team and Brazilian audiences, underscoring how I’m Still Here mirrors resilience in adversity, while Torres expressed the honor of voicing Eunice Paiva.
The Best International Film win, alongside Best Picture and Best Actress nominations, makes I’m Still Here the first Portuguese-language Brazilian film to reach such heights at the Oscars, breaking linguistic and cultural barriers