POLITICAL IMPACT AND CULTURAL POWER OF FICTIONAL PRODUCTIONS: THE CASE OF I'M STILL HERE

Abstract

The relationship between culture and politics has never been passive or neutral. On the contrary, there are countless historical episodes in which artistic productions – especially cinematographic ones – not only echoed ongoing social transformations, but also acted as catalysts for political processes, tensioned power structures, spurred public debates, and rekindled collective memories.

This digital book is precisely within this intersection between the symbolic and the institutional, investigating the political impact and cultural power of fictional cinematographic productions in contemporary Brazil, with an analytical focus on the film "I'm Still Here" (2024), directed by Walter Salles. The text presented represents a chapter (here divided into three parts) of the dissertation "EDUCATION, INDIGENOUS CINEMA, AND ENVIRONMENTAL LAW: Scriptwriting Workshops for Audience Expansion and Resistance in the Age of Climate Justice," presented in the Master's program in Education Sciences at Veni Creator Christian University (USA).

The feature film, based on the novel of the same name by Marcelo Rubens Paiva, reconstructs the story of his family in a fictionalized manner – but intensely grounded in historical reality. The mother, Eunice Paiva, fights for justice in the face of the violent repression that claimed the life of her husband, former congressman Rubens Paiva, who disappeared in state custody during the military dictatorship. Eunice is central not only as a character, but also as a symbol of resistance, transformation, and memory. The film's reception by the general public, its international awards, and the social debate generated by its wide national showing indicate that I'm Still Here has transcended the limits of entertainment and become a distinctive political and cultural event.

The book is divided into three brief chapters, each addressing distinct but interconnected dimensions of the phenomenon generated by this cinematic production. The reading invites reflection on the role of audiovisual media in constructing the national political imagination, the symbolic reach of cultural representations in the defense of human rights, and how art can spark concrete mobilizations within and outside institutions.

The first chapter addresses the unexpected reactivation, in early 2025, of the Amnesty Law trial by the Federal Supreme Court (STF). After years of institutional stagnation, the court once again addressed the constitutionality of the legal pardon granted to state agents involved in torture, disappearances, and murders during the military regime. The symbolic trigger for this movement was the impact of the film "I'm Still Here," which reignited public interest and pressure on the justice system. The chapter analyzes the legal and political ramifications of this scenario, highlighting the role of cinema in shaping judicial agendas, as well as the justices' votes and the arguments used in the paradigmatic case of former Congressman Rubens Paiva.

In the second chapter, the focus shifts to the human and historical dimension of the narrative. Eunice Paiva's trajectory is explored in a more flexible temporality: from a woman affected by state violence to a lawyer active in indigenous causes and a public figure of resistance. Throughout the pages, a line is drawn between Eunice's real life and her fictional representation on screen, interpreted with rare sensitivity and sophisticated dramatic restraint by Fernanda Torres. The analysis also encompasses how the film reclaims national memory, emotionally touches the audience, and reclaims the value of protecting an ever-threatened Democratic Rule of Law. This chapter also investigates the prodigious popular mobilization and commotion surrounding the film, from social media demonstrations to Carnival tributes—symptoms of its distinct penetration into the popular imagination.

The final chapter broadens the debate to the realm of cultural theories and political communication. Reflecting on the concept of "cultural power," as discussed by researcher Franthiesco Ballerin, the film examines cinema as a strategic mechanism of sociopolitical influence. Parallels are drawn between "I'm Still Here" and other productions, such as José Padilha's "Elite Squad" (2007), to demonstrate how fictional narratives are capable of shaping mindsets, legitimizing discourses, and consolidating symbologies that resonate in the electoral landscape, the social imagination, mass politics, and public opinion. In this way, the importance of the emotional engagement of film audiences is demonstrated as key to broad and influential popular support. It also highlights how the dynamics of fiction—more so than documentary—prove effective in creating collective mobilization within the symbolic realm of a given population.

By the end of this book, readers will hopefully understand how cinema—far from being merely entertainment—can play a central role in the clash of ideas, the formation of political identities, and the confrontation of a country's historical traumas. More than simply recounting the events surrounding "I'm Still Here," this book aims to contribute to the understanding of art's place as a tool for critical awareness and democratic construction.

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