In a remarkable display of generational talent, Brazilian actresses Fernanda Montenegro and her daughter Fernanda Torres have both earned Oscar nominations, cementing their place in cinematic history. Montenegro, the first Brazilian to receive an Academy Award nomination for acting in Walter Salles' 1998 drama Central Station, now shares the spotlight with her daughter, who has been nominated for her role in Salles' latest film, I’m Still Here.
This mother-daughter duo joins an elite group of Oscar-nominated pairs, including Judy Garland and Liza Minnelli, Diane Ladd and Laura Dern, and Goldie Hawn and Kate Hudson. For Torres, the nomination feels like a fairy tale. "In Brazil, there is this sense that my mother and I are a continuation of something; two talents that endure in time," she reflects. "It’s pretty magical."
In I’m Still Here, Torres portrays Eunice Paiva, a mother of five in 1970s Brazil whose life is upended when her husband is taken by the dictatorship. The film, based on a true story, follows Eunice as she reinvents herself as a lawyer and activist, navigating decades of personal and political turmoil. Montenegro makes a brief appearance as the older Eunice, sharing the screen with her daughter in a poignant moment.
Torres, a multifaceted artist, has long been inspired by her parents' careers. "I became this person who can do a lot of things," she says. "Today, I see myself as an independent artist. And when you are an independent artist, you don’t rely on invitations." Her journey from actress to writer, columnist, and podcaster reflects her determination to carve her own path.
I’m Still Here resonates deeply with contemporary audiences, drawing parallels between the fear-mongering of the 1970s and today’s political climate. "In a world full of fear, people think it would be good to have a populist leader that tells us everything is simple," Torres observes. "The film has historical importance in Brazil. It reminds and teaches young people what it really means to live in this regime."
At its core, the film celebrates matriarchal strength and unbreakable familial bonds. "They are just a normal family," Torres notes. "You can relate to Eunice, because the idea of a mother is a very ageless thing. The family touches pretty much everyone."
Director Walter Salles' meticulous attention to detail and commitment to authenticity brought the story to life. "It’s rare to achieve this level of realism," Torres says. "Walter shot it very simply, and on film. Each take was very precise and required a lot of concentration on the set." The collaborative spirit on set mirrored the film’s themes, with Torres leading her co-stars like a "first violin," as Salles described it.
For Torres, the experience of portraying Eunice was transformative. "When I look at myself in the mirror as Eunice, I was not the same person who left that house," she recalls. "Walter allowed me to experience what Eunice was experiencing."
Torres credits her mother with teaching her the importance of independence in her career. "Choose your own material, chase your own material, and decide what you’re going to do next," she advises. But it’s her mother’s playful phrase, "Nanda! It’s glory, and its litany of horrors!" that she cherishes most. "I love the juxtaposition," Torres laughs. "And it defines this moment in my life."
