For decades, Fernanda Torres has been a household name in Brazil, captivating audiences with her depth and versatility as an actress. But with her acclaimed performance in the drama “I’m Still Here,” Torres has found herself on a global stage, earning her first Academy Award nomination and carrying the pride of an entire nation.
Torres’ portrayal of Eunice Paiva, a mother who spent decades searching for justice after the disappearance of her husband during Brazil’s military dictatorship, has resonated with audiences and critics alike. The film’s surprise best picture nomination further solidified it as a landmark moment for Brazilian cinema.
On this episode of the Variety Awards Circuit Podcast, Torres reflects on the film’s emotional impact, the overwhelming support from Brazil, her mother Fernanda Montenegro’s Oscar history, and her unexpected Hollywood dreams — including a very specific James Bond villain role.
For Torres, seeing “I’m Still Here” make the long journey from the Venice Film Festival to the Academy Awards has been surreal.
“It feels good,” she says. “I feel a well-done job because we started in Venice when the film was just a Brazilian movie; we didn’t know what would happen. And then there’s this long path that ended up in the Oscars. And there is the expectation, Brazil’s expectation. And then when I got nominated, I said, ‘Oh my God, I did what I was supposed to do.’”
Fernanda Torres, “I’m Still Here” (Sony Pictures Classics /Courtesy Everett Collection)
©Sony Pictures/Courtesy Everett Collection
While international audiences may view “I’m Still Here” as a historical drama, it holds more profound significance for Brazilians.
“This film was important — politically, socially,” Torres explains. “Different generations went to see this movie and were touched and proud. This film is something very special to Brazil. The dictatorship in Brazil was not something that happened in isolation. It was part of the Cold War. The United States sponsored the dictatorship in Brazil. It was a dystopic time. But this is not just a story about the past — it’s also a reflection of now. Again, we are full of fear, divided, and angry. Populism and the idea that a violent state can put order in the modern mess — it’s tempting. But we must resist.”
Torres’ nomination has been significant to Brazilian audiences because of her family legacy. Her mother, Fernanda Montenegro, was the first Brazilian actress nominated for an acting Oscar for 1999’s “Central Station,” also helmed by “I’m Still Here” director Walter Salles.
“There is this patriotic feeling in the country,” Torres says. “It’s the country on the red carpet. And because my mother was in the race before, it raised a sense of national pride. But this fever came from the film.”
She fondly recalls watching her mother’s Oscar campaign unfold when she was younger.
“I remember my mother being ‘kidnapped’ for a while,” Torres laughs. “She just disappeared for six months! We would hear from her once in a while, saying, ‘My darling, I’m in Denver.’”
One moment, in particular, stood out.
“She was on David Letterman, and I was nervous because English wasn’t her first language,” Torres says. “But then she made a joke — he asked if she lived in Ipanema, and she said, ‘Yes, I’m the old lady from Ipanema.’ And I thought, ‘She’s amazing.’”
Now, 25 years later, Torres is carrying Brazil’s cinematic legacy forward.
Torres has also experienced a surge in social media support, with Brazilian fans championing her on Twitter, Instagram, and beyond. Her following exploded from 500,000 to over 4 million in just a few months. Not bad for a country with over 12 million people.
However, with some of her supporters getting, how do you say, aggressive at times, she insists she’s not running an orchestrated campaign.
“It can sound like I work in my social media for that, but this is absolutely not true,” Torres says. “What made my social media jump was the film — was something called ‘I’m Still Here’ that became a phenomenon in Brazil.”
She also credits Brazil’s passionate online culture.
“Brazilians are heavy users of the internet,” she explains. “We consume our own culture — we are very proud of it. But when someone makes the miracle of crossing the frontier and is recognized in the world, Brazil goes nuts.”
Unlike some actors who use social media strategically, Torres says she’s letting the fans take the lead. “They are doing it on their own,” she says. “They are ensuring people see the movie and know it deserves recognition.”
Now that Hollywood has taken notice of the 59-year-old sensation, what’s next?
“I don’t separate my career in Brazil from my international career,” she says. “A career is made out of good movies, plays, and television. I would love to make an action film, as I would love to be in a European art movie.”
But when pressed for a dream role, she has a very specific answer.
“I would love to be the secretary of a James Bond villain,” she says with a laugh. “And just say, ‘He will be waiting for you in the next room, Mr. Bond.’ That’s it. That’s my dream. Just this line. That’s all I want to do.”
Of course, given the strength of her performance in “I’m Still Here,” she could easily play the main villain instead. Don’t underestimate yourself, Mrs. Torres.
Also, on this episode, writer, director and producer Coralie Fargeat talks about her body-horror film “The Substance” and how she stayed true to her vision. In addition, the roundtable discusses the results of the PGA, DGA and frontrunner status of Sean Baker’s “Anora” and what that could mean for the upcoming BAFTA and SAG Awards ceremonies.
Listen to previous podcast episodes
Variety Awards Circuit Podcast
Variety’s “Awards Circuit” podcast, hosted by Clayton Davis, Jazz Tangcay, Emily Longeretta, Jenelle Riley and Michael Schneider, who also produces, is your one-stop source for lively conversations about the best in film and television. Each episode, “Awards Circuit” features interviews with top film and TV talent and creatives, discussions and debates about awards races and industry headlines, and much more. Subscribe via Apple Podcasts, Stitcher, Spotify or anywhere you download podcasts.
