Olá novamente! This month, we at AMP have decided to share what we love so much about Brazilian cinema. Both of these films take place during Brazil’s military dictatorship (which the United States started, by the way!) and they highlight the importance of community, solidarity, and resistance in the face of fascism — something that absolutely NONE of us could learn from because everything here is PERFECT and definitely not evocative of every fascist regime that has ever existed. Anyway, get over here and admire Wagner Moura’s sad, beautiful eyes with us.
I’m Still Here (2024)
There aren’t many films I’ve seen that linger the way this one does. This isn’t simply due to its themes of hope, loss, and the way that state-inflicted trauma echoes through multiple generations; it’s also because of how beautifully the film manages to convey these ideas. “Ainda Estou Aqui” (translated to “I’m Still Here” in English) is director Walter Salles latest film, and it deserves every ounce of praise it’s gotten. The film paints a beautiful picture of Rio de Janeiro in the ‘70s and shows that, despite living under military control, the people of the city still carry on and try to find ways to reaffirm their humanity.
We follow the real story of the Paiva family and the disappearance of Rubens Paiva (Selton Mello), who was a former Congressman who opposed the dictatorship of Brazil. As the film opens, we’re treated to the vibrant, gorgeous scenery of the Paiva family’s neighborhood and home. Rubens and his wife, Eunice (Fernanda Torres), have five children and many friends. They’re well-liked and respected in their community, often having people over and helping out others when they can. Sadly, their time together is cut short when several men show up at the Paiva family’s house and take Rubens away, insisting that he answer some questions.
This is the last time that we ever see Rubens Paiva. To this day, his body has still never been found.
The rest of the film is an exploration of the resilience necessary to carry on after a family is forcibly torn apart without explanation. This sounds familiar somehow. You don’t think so? Well, I’m sure it’s just a coincidence. It’s not like this is a pattern that’s been replicated by authoritarian governments across decades, ahaha… aha… ha….
Much like the way Rubens’ sudden absence haunts his family, this film haunts me. Watching the Paiva family come together and use their voices to speak out about the government’s actions in the following decades is equal parts tragic and admirable. After her husband’s disappearance, Eunice Paiva became a lawyer and used her power to fight for Indigenous rights in Brazil for years to come. Many of her children followed in her footsteps and became prominent writers, speakers, and activists themselves. Their son, Marcelo Rubens Paiva, actually wrote the book that this film’s screenplay was adapted from! In the wake of tragedy, this family banded together and reinvented themselves so they could fight for others just like them, and although their story isn’t a happy one, it’s certainly inspirational.
“I think the smile of Eunice is a kind of weapon,” Fernanda Torres once said in an interview with W Magazine, and honestly, I have to agree with her. The will to keep smiling amidst such ever-present horror is hard to come by, but Eunice and her family do it gracefully and proudly. They understand that joy is an incredibly important form of resistance, and this film is sure to remind us of that.
The Secret Agent (2025)
The Woke Left is going to cancel me for saying this, but I don’t care. I have to live my truth. I, Kavya Racheeti, watched “Narcos” on Netflix and, upon seeing Wagner Moura as Pablo Escobar, thought to myself: “Wait, why’s he kind of…” and for what it’s worth, I would like to reiterate to the jury that I don’t care what you think! You can lock me up! I’m sorry for committing the crime of having eyes that can see things.
Jokes aside, I’ve been a genuine fan of Moura’s work since then. His filmography is incredibly diverse, with a keen investment in preserving and discussing the political institutions of Brazil. Although I’m not Brazilian, I cherish this sentiment in his work deeply. It’s exhausting to see an abstraction of your home country that glosses over its problems and exclusively highlights the good things. It’s also exhausting to see the weaker parts of your culture essentially construed into poverty porn. Balance has always been a strength in Moura’s filmography, and the latest addition to the list, director Kleber Mendonça Filho’s 2025 film “O Agente Secreto” (translated as: “The Secret Agent”) is certainly no exception.
The film takes place in 1977 during Brazil’s military dictatorship and follows political activist and researcher Armando (Moura) who, using the alias “Marcelo,” attempts to flee persecution from a fascist regime. The film is critical of the state’s adherence to (and later its denial of) institutionally fascist behaviors through ‘then-and-now’ sister narratives. Mendonça also pushes forward a true celebration of Brazil through the beauty of its people, and not just through commerciality. Though the film is set during the week of Carnival, we do not get to linger in the festivities. The celebration feels ironic given the state of the country.
The beauty of Brazil is instead found in small, interpersonal moments. One of the most pivotal scenes, in my opinion, is a shot of Armando looking fondly over at his son, Fernando (Enzo Nunes), who draws a picture of a shark, eager to see the film “Jaws.” It is the prevalence of community that presents the film’s greatest joys and tragedies. From anarcho-communist Dona Sebastiana’s (Tânia Maria) commune to Armando’s wife, Fatima (Alice Cravalho), and her revolutionary group, the whole ensemble cast gives a compelling performance that highlights what is truly special about Brazil: its diversity and vitality.
Once we find out near the end of the film that Armando/Marcelo was killed by a hitman, we’re met with an older version of his son, Fernando (also played by Moura), and are confronted with the real tragedy of the film: Fernando is incapable of remembering anything about his father. We realize that all of the time spent watching Armando scramble to give himself and his son a life free from the regime was for nothing.
“The Secret Agent” was the token international film of this year’s film awards circuit, which I thought was incredibly deserved. However, it’s always heartbreaking to see international films in the American award circuit fly under the radar, especially those with narratives as powerful as “The Secret Agent.” If you want to overcome “the 1-inch tall barrier of subtitles” and gain a deeper appreciation for Brazilian art, I think Mendonça’s “The Secret Agent” is a great way to get started.
