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Why was 'I’m still here' nominated for the Oscar for Best Picture?

There are receita pipoca dicetwo ways to explain “I’m still here” being nominated for Best Picture in 2024, an extremely rare achievement for Brazil. One is short, and the other is long. The short explanation: Walter Salles’ film is exceptional. The long explanation involves Fernanda Torres’ charisma, the backlash against its “main rival” in the international film category, its political undertone during a time when even bishops are talking politics, and the budget invested by Sony Classics to sway the more than 10,000 Oscar voters. While many saw the nomination for Best Picture — in addition to Best International Feature and Best Actress — as a surprise, it wasn’t quite so. Who killed Rubens Paiva: Report revealed in 2014 the killer of the former congressman portrayed in the film 'I'm still here'Residence in Rio de Janeiro: See images of the house where was filmed 'I’m still here' The journey of “I’m still here” began at the Venice Film Festival in September, where it won the Best Screenplay award for Heitor Lorega and Murilo Hauser. It then premiered successfully in Brazil and made its way through festivals worldwide. Its international distributor, Sony Classics, is a division of Sony founded in 1992 for independent films. Many beloved productions owe their success to Sony Classics’ investments, from “Crouching tiger, hidden dragon” (2000) and “Talk to her” (2002) to “Wild tales” (2014) and “Call me by your name” (2017). Notably, “Central Station” (1998), also directed by Walter Salles and with its own Oscar nominations (Best Actress for Fernanda Montenegro and Best Foreign Language Film), was distributed by Sony Classics. Once Sony Classics realized “I’m still here” had a shot, its campaign intensified, focusing on four categories: Best International Feature, Best Actress for Fernanda Torres, Best Adapted Screenplay, and Best Picture. The first two seemed very possible, especially after the Golden Globes awarded Fernanda Best Actress in a Drama. The latter two, however, felt like distant dreams. In Hollywood, campaigning means organizing special screenings for the Academy voters to see the film. If voters can’t attend, a secret link is sent so they can watch at home — after all, unknown films don’t win votes. A large amount of money is invested on advertisements reminding people that the film exists and deserves their vote. Many of these ads include the phrase “For your consideration”. Because of this campaign, Walter Salles and part of the “I’m still here” team essentially relocated to the United States. They attended parties, TV shows, festivals, and any other event to promote the film. This is where Fernanda Torres became pivotal. After winning the Golden Globe, she became the kind of star Hollywood adores: fluent in English, funny, quick with jokes, and always wearing a big smile. She became a social media sensation and a favorite on American TV shows. Everyone unfamiliar with Brazil kept asking how such a radiant person could play such a heavy role as Eunice Paiva in “I’m Still Here.” The fact that her mother, Fernanda Montenegro, was nominated for “Central Station” over two decades ago was the cherry on top, drawing even more Oscar voters to notice the Brazilian actress. Still, there were barriers to dreaming this big. The Oscars are a competition — to win, voters must like one film more than another. This year, until close to the end of voting, it seemed there was room for only one non-English-language film to break out of the International Feature category and shine in other Oscar categories. That film was “Emilia Pérez,” an audacious musical by renowned French director Jacques Audiard, mostly in Spanish, tackling themes of violence and identity, starring a beloved youth icon (Selena Gomez) and a trans actress in the lead role (Karla Sofía Gascón). In english: Read more stories on O GLOBO's website “Emilia Pérez” truly is excellent and deservedly leads this year’s Oscars with 13 nominations, the most for any film. However, it also faced significant backlash, particularly in Mexico. The director doesn’t speak Spanish, the film tackles Mexican violence but wasn’t shot in Mexico, and no Mexican actresses were cast in the main roles. Selena Gomez had to apologize for her accent, explaining she didn’t have enough rehearsal time. On top of that, trans advocacy groups criticized the film’s portrayal of its protagonist as outdated. It was in the shadow of these criticisms that strong voices emerged in favor of “I’m still here” in recent weeks. The film also benefited from being the right movie at the right time. Both Audiard’s and Salles’ works are political and can be seen as Hollywood’s progressive response to Donald Trump’s second term. When the U.S. president takes actions that harm trans people, “Emilia Pérez” gains traction. When he adopts authoritarian rhetoric and pardons insurrectionists who stormed the Capitol, the crimes of Brazil’s dictatorship highlighted in “I’m Still Here” resonate more. It’s no surprise that The New York Times, the world’s largest newspaper, named “I’m still here” one of the year’s greatest releases. In its review, the paper noted, “The film was released just as details emerged of a planned coup to keep former President Jair Bolsonaro, who defended Brazil’s military dictatorship, in power after losing the 2022 election.” Cinema isn’t detached from reality — it’s not just “art for art’s sake.” Walter Salles has always understood this in his socially-conscious films. With his Oscar nomination, he now reaches the pinnacle of a remarkably successful career. The translation of this text into english was carried out by Project Irineu, O GLOBO's initiative to develop artificial intelligence tools. Here is the link to the original report. 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