

** Right, let's see. This new film, *I'm Still Here* (*Ainda Estou Aqui*), directed by Walter Salles, based on Marcelo Rubens Paiva's memoir… it's set in 1970s Brazil during the military dictatorship. The story centers on a family, you know, the usual domestic life shattered by state violence, that sort of thing. But it's about a mother, Fernanda Torres, who has to reinvent herself to survive and seek justice. Intriguing. It's a Brazil-France co-production, in Portuguese, of course. Venice Film Festival Best Screenplay winner, so it has that going for it. Released, I believe, in 2024, though it's apparently coming out in China in 2025. **
** Right, let's see. This new film, *I'm Still Here* (*Ainda Estou Aqui*), directed by Walter Salles, based on Marcelo Rubens Paiva's memoir… it's set in 1970s Brazil during the military dictatorship. The story centers on a family, you know, the usual domestic life shattered by state violence, that sort of thing. But it's about a mother, Fernanda Torres, who has to reinvent herself to survive and seek justice. Intriguing. It's a Brazil-France co-production, in Portuguese, of course. Venice Film Festival Best Screenplay winner, so it has that going for it. Released, I believe, in 2024, though it's apparently coming out in China in 2025. **
** Okay, here's how I see this. I think the key here is to capture the contrast between a warm home and a chilling disappearance. Start with that family, the Paivas, the father is taken away... then it's all about Eunice, the mother, holding it together under this oppressive military regime. The hook? The resilience of this woman, right? A happy housewife turned warrior. We need to focus on Salles's return, Fernanda Torres's acting, the historical context, and the concept of "absence" as a presence. The themes are memory versus oblivion, the personal as political, and... well, a haunting ending, which I won't spoil. Okay, let me draft this. The initial scene, it has to be atmospheric. I picture the sunshine on the beach in Rio, the laughter of the family inside, a scene of tranquility shattered by a home invasion. Then, the main plot... Rubens is taken, Eunice's struggle. The review part is important too. How to make the viewer feel something. I have to explain how Salles masterfully shows the nuances and that Fernanda Torres's performance is incredibly believable. The feeling of "I'm still here" and how it becomes a declaration and weapon. We shouldn't forget that this movie is about the search for truth and everlasting love. 【电影介绍】 海浪拍打着里约热内卢的沙滩,阳光洒在保瓦一家欢声笑语的客厅里,那是1971年的巴西,空气里似乎还飘着咖啡和书卷的香气。然而,这种近乎完美的松弛感在某一个平凡的下午戛然而止,随着几个不速之客的登门,这个家庭的支柱,前国会议员鲁本斯被带走协助调查,从此再也没有回来。导演沃尔特·塞勒斯用一种极其克制却又充满力量的笔触,带我们走进了这场真实发生过的家庭风暴。 故事的核心聚焦在女主人尤妮斯身上。面对丈夫的突然失踪和官方令人窒息的沉默,这位曾经温婉的母亲没有选择崩溃,而是像一块在重压下愈发坚硬的礁石,独自撑起了五个孩子的世界。她不仅要周旋于冰冷的官僚体制中寻找真相,更要在那个动荡不安的时代里,重新定义自己的身份。这不仅仅是一部关于政治创伤的电影,它更像是一首关于女性生命韧性的赞歌,让我们看着一个柔弱的灵魂如何在废墟之上,一点点筑起守护尊严的堡垒。 随着剧情的推进,尤妮斯从一个受害者的家属,逐渐蜕变为一个沉默却坚定的抗争者。导演没有刻意去渲染那些血腥的暴力,而是通过家里日益空旷的座位、孩子们欲言又止的眼神,以及尤妮斯在深夜里独自面对的黑暗,将那种时代的压抑感渗透进每一个毛孔。你会被这个家庭在绝境中展现出的生命力所打动,也会在尤妮斯那看似平静的表情下,感受到一种排山倒海般的悲恸。 【观影点评】 看完这部电影,我最深刻的感受是那种无声处的惊雷。沃尔特·塞勒斯这位曾经拍出过中央车站的大师,在沉寂多年后拿出的这部作品,依然有着那种直抵人心的温柔与残酷。他没有用大开大合的煽情,而是把镜头对准了生活中的细节:一张褪色的照片、一通断掉的电话、还有尤妮斯那双从迷茫逐渐变得坚毅的眼睛。这种真实感,比任何刻意的反转都更让人心碎。 费尔南达·托里斯的表演简直是教科书级别的,她把那种在恐惧中维持体面的尊严感演活了。特别值得一提的是,她的母亲,巴西国宝级演员费尔南达·蒙特内格罗也在片中贡献了震撼人心的瞬间。这对现实中的母女在银幕上的交替,仿佛完成了一场关于记忆与尊严的接力。电影通过一个家庭的微观视角,折射出了一个时代的巨变,它让我们看到,当一个人拒绝被遗忘、拒绝被抹去时,她本身就成了一座无法逾越的山峰。 影片结尾处,当时间跨越数十年,那种跨越时空的坚守与释怀交织在一起时,你会发现,电影标题我仍在此不仅仅是一句宣言,更是一种对抗遗忘的终极武器。它提醒我们,有些东西是暴力和时间都无法抹去的,那就是对真相的渴望和对家人永恒的爱。如果你想在影院里寻找一份久违的、能让灵魂颤栗的力量,这部片子绝对是今年最值得静下心来品味的佳作。



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