Every year, between late February and early March, I settle onto the couch with a bowl of popcorn in one hand and a cup of tea in the other, ready to watch the highly anticipated Oscars ceremony. And every year, without fail, I’m hit with the same surprising realization — I’ve missed nearly all of the year’s most critically acclaimed films. As a result, my attention often drifts away from the awards themselves, instead drawn to the glitz of red-carpet fashion and the buzz around celebrity couples. 

As someone who often prides themselves on being an avid film watcher, I knew 2025 had to be different. This year, I was determined to break this endless cycle and truly embrace the spirit of the Academy Awards. So, when the nominations were announced in late January, I made a pledge: I would watch all thirteen films nominated in the six major categories — well, almost all (I had to pass on “Emilia Pérez”). 

In pursuit of this mission, I’ve made countless trips into the city to catch newly released movies, becoming far too familiar with all the Regal locations in Manhattan — and spending an absurd amount of money on disappointingly mediocre popcorn. Last weekend, with seven films down and six to go, my roommate Andie and I headed downtown to the Angelika Film Center to catch a film that couldn’t seem to escape my Letterboxd feed: “I’m Still Here.” Directed by Walter Salles and starring Fernanda Torres, the film brings to life the true story of the Paiva family as they navigate the harsh realities of Brazil’s military dictatorship in the early 1970s. 

The movie kicks off with a burst of color, laughter and music — a radiant, heartfelt portrayal of the Paiva family. In their sun-drenched Rio de Janeiro home, Eunice and Rubens Paiva, along with their five children, fill the days with salsa dances, mid-day dips in the ocean, backgammon games at dawn and flans around the dinner table. Many of these moments unfold through the grainy, nostalgic lens of the eldest Paiva daughter’s Super 8 camera, lending the film a personal, authentic touch. The first half hour of the movie is a celebration of life, so vividly immersive that I couldn’t help but smile, completely drawn into the Paiva family’s world. 

But, as with all good things, the warmth of the Paiva house is about to come to an abrupt end. Rubens Paiva, a former congressman, is suddenly seized by military officials, accused of conspiring with communists. Not long after, his wife Eunice is also taken into custody and imprisoned for 12 days before being released — unlike Rubens, who vanishes without a trace. Upon her return, Eunice is left to pick up the pieces of a broken home, juggling the weight of unanswered questions while stepping into the roles Rubens left behind — paying the bills, holding the family together and becoming the unwavering pillar of strength her children so desperately need.  

With little prior knowledge of the political turmoil in 1970s Brazil, I was deeply captivated by this poignant historical portrayal. While many critics argue that “I’m Still Here” offers a superficial take on the era’s political unrest, I view it differently. I found the film refreshing in its “show, don’t tell” approach — letting the political conflicts remain in the background rather than being the central focus. By telling the story of the Paiva family and zeroing in on the husband’s disappearance, the film subtly nods to the political events shaping the era without feeling the need to provide a detailed historical play-by-play.

What truly stood out to me was Fernanda Torres’ incredible performance as Eunice Paiva. She delicately conveyed the emotional weight of losing a loved one while still maintaining a brave front for the sake of her family. Torres’ portrayal was nothing short of breathtaking, and I believe she stands in a favorable position to take home an Oscar at this year’s ceremony. As she’s nominated for Best Actress, I will be personally cheering her on from the sidelines.

After working my way through a good portion of the 2025 Oscar lineup, I can confidently say that “I’m Still Here” deserves to lead in its nominated categories — though, to be fair, that’s not saying much. In all honesty, what began as an exciting challenge to broaden my cinematic expertise has instead left me rather disappointed with this year’s selections. The overall quality of nominees feels noticeably weaker, with many films falling short of even my own modest expectations as a novice film critic. That said, “I’m Still Here” will likely walk away with at least one award on March 2 — but whether it truly deserves it is another question entirely.