#Manoella Torres

[whileiamdying]

Review: Fernanda Torres pulls off a miracle of maternal courage in ‘I’m Still Here’

Fernanda Torres in the movie “I’m Still Here.” (Alile Onawale / Sony Pictures Classics)

By Carlos Aguilar Jan. 17, 2025 @ 2:46 PM PT

Soufflé is almost ready at the Paiva household just across the street from the beach in sultry Rio de Janeiro, Brazil. From the unmistakably festive atmosphere within the home��s airy rooms, one wouldn’t guess the country is under a ferocious military dictatorship.

That Walter Salles, the acclaimed director of “Central Station” and “The Motorcycle Diaries,” first depicts the tight-knit family of “I’m Still Here” at their most ebullient, before tragedy strikes, pays off dramatic dividends in this remarkably life-affirming drama largely set in 1971 and based on the 2015 memoir by Marcelo Paiva (the Paivas’ only son). A contender for the upcoming international feature Oscar, “I’m Still Here” brilliantly distills an agonizing chapter of a nation’s recent past into a sophisticated portrait of communal endurance.

Already lauded for her quietly shattering performance with a surprise Golden Globes win (the first Brazilian actress to ever receive the prize), Fernanda Torres portrays Eunice Paiva, a mother of five who is married to former Congressman Rubens Paiva(Selton Mello). We see the pent-up worry on her face signaling incipient danger: Helicopters roam the city while news of kidnapped ambassadors pours from the radio.

Within the walls of the Paiva residence (the film was shot in the actual house that belonged to the family), Salles and his cast of both seasoned and fresh-faced actors create a vibrant, lived-in dynamic radiating with affection and carefree liberty. And because we’ve been so wonderfully immersed in the exuberance they are all about to lose, when the darkness reaches their doorstep, in the form of henchmen who take Rubens in for questioning, the contrast between who they were and who they become feels stark.

By that point, Mello has potently established the fatherly warmth his family will sorely miss. In that absence, memory becomes central to “I’m Still Here.” The narrative is interspersed with home movies shot on a 8 mm camera, immortalizing candid instances of leisure and love, the ones that truly matter. Not only are they indelible in the minds of the Paivas, but they are forever preserved in still photos, in Marcelo Paiva’s writing and now onscreen through Salles’ filmic rendition.

The director and cinematographer Adrian Teijido also make the home a shifting co-star and a physical metaphor for Brazil as a whole. Once a place where friends and family entered through perpetually open doors, the space becomes hermetic and airless when curtains are drawn to hide the men who have come to disrupt this idyllic refuge. Through them, the dictatorship instills fear and distrust to maintain power. Salles communicates the state-sanctioned distress by focusing on the family’s upended quotidian rituals.

Eunice responds by offering these goons lunch — maybe in the hope that their ordeal will end sooner, but also as a statement of the type of person she is even to those who might hurt her. (Eventually, she and one of her daughters are detained and interrogated, then released.) Those seemingly muted details about her rich personality come from Marcelo Paiva’s intimate reminiscences about his mother and the Paivas’ collective experience in the aftermath of Rubens’ disappearance, expertly adapted by screenwriters Murilo Hauser and Heitor Lorega.

Torres exudes the unflashy fortitude of a woman unable and unwilling to surrender to despair as the days and weeks go by. How can she when she must raise her children and seek justice for her husband, who may still be alive? Imparting masterful restraint, Torres makes Eunice’s few outbursts feel believably contained. As distanced from melodrama as possible, her performance is one of internalized grief.

And yet, in the midst of her hidden mourning, Eunice treats those around her with loving understanding, empathetic to their respective fears and the limitations of what they can do for her. She moves through the world with a humble resolve, unafraid of doing what needs to be done, never dwelling on what could or should have been done. At every turn, we recognize her desire to spare her kids from the sorrow she carries. A guardian of their tender hearts, she can only hide so much in an authoritarian reality.

Even mere moments after receiving crushing news, Eunice musters up a smile for her youngest daughter and the energy to take the whole gang out for ice cream, seeking to regain a semblance of what they used to have. That amalgamation of a graceful pride during a crisis and superhuman determination is crucial to Torres’ embodiment of Eunice’s inner force. And because she’s perceived as nearly unbreakable, when sorrow does slip through her eyes in a lost stare or a weighted silence, Torres’ expression is beautifully gutting.

Acting of this subtle caliber is rarely celebrated, but Torres unassuming turn has proved undeniable to anyone who watches it. For a film like “I’m Still Here” to emerge on the other side of the repressive Jair Bolsonaro presidency and be embraced at home and abroad so earnestly (it’s Brazil’s highest grosser since the pandemic) is testament to Salles’ assured directorial hand that treats the delicate subject matter with the seriousness it merits while highlighting humanity rather than brutality. There’s a striking elegance to his images in how they bring us closer to the people, not the horrors.

When a photographer suggests that the family pose with a somber demeanor for a shot that will be featured in an article about Rubens’ disappearance, Eunice refuses, instructing her children to smile broadly. Joy proves defiant to the shadowy oppressors who wish to see their “enemies” suffer. Eunice’s victory, as witnessed by Marcelo Paiva and resurrected by Torres (and, briefly, by Brazilian legend Fernanda Montenegro, Torres’ Oscar-nominated mother), is not just about survival but fostering a family united in adversity.

Resistance takes the form of lives well lived. In every laugh shared, in every new memory made and family photo taken, this clan honors those no longer physically present.

'I'm Still Here' In Portuguese with English subtitles Rated: PG-13, for thematic content, some strong language, drug use, smoking and brief nudity

[archivomusicalrumberos1]

Como Las Violetas - Manoella Torres - Noche, Boleros y Son

[miuimusic]

Manoella Torres

[rafaeladigital]

La última canción de Los Beatles como solo nosotros podemos mostrarla!. "Now And Then" en todas sus versiones y toda la data en el comienzo extraoficial de la Anthology 3. ¡Gulp!. Comienza el Abecedario del rock argentino de los '80 con el primer LP de Los Redonditos de Ricota. Nuevos Bonus Tracks 2023 en una sección de lentos; Lafayette y su órgano en una edición extra de El Album de Oro de las Grandes Orquestas; Un par de unos por dos informal y una Frecuencia Modulada con Música Disco de los '70. Revista Beatles - La cultura es la sonrisa. Por FM Galena 94.5. www.radiogalena.com.ar Emitido el sábado 16 de marzo de 2024. 16.00 horas. Idea y conducción: José Luis Banchio. Sonido, Post Edición y Toque Mono: Adrián Zimmermann FM Galena 94.5. Rafaela, Santa Fe. República Argentina. Listado de canciones: 1 – Now and Then – John Lennon 2 – Now and Then – The Beatles (Anthology 3 – 1996) 3 - Now and Then – The Beatles (2023) 4 – La Bestia Pop - Patricio Rey y sus Redonditos de Ricota 5 – Barbazul versus el amor letal - Patricio Rey y sus Redonditos de Ricota 6 – Roto y mal parado - Patricio Rey y sus Redonditos de Ricota 7 – Pierre el vitricida - Patricio Rey y sus Redonditos de Ricota 8 – Las manos – Sandro 9 – La Avenida de los Tilos – Luciana 10 – Si supieras – Manoella Torres 11 – Honey – Bobby Goldsmoro 12 – Querida – Sandro 13 – Quiero – Lafayette 14 – Concierto para un verano – Lafayette 15 – Cherie Sha la la - Lafayette 16 – La enamorada de un amigo mío – Lafayette 17 – Get Me Some Help – Lafayette 18 – Help (Get Me Some Help) – Tony Ronald 19 – Quiero – Julio Iglesias 20 – Downtown - Petula Clark 21 – Don't Sleep The Subway - Petula Clark 22 – Tired Of Toein' The Line – Rocky Burnette 23 – The Sounds Of Philadelphia – The Three Degrees Link para escuchar el programa: https://www.ivoox.com/revista-beatles-programa-n-476-audios-mp3_rf_126145167_1.html https://rafaeladigital.com/noticias/revista-beatles-reproduccion-del-programa-no-476/?feed_id=5371

[lalobaen2021]

Manoella Torres "Huele A Peligro/Vete Ya/Y Resulta Que Te Quiero/Te Hubi...

[moon-calvary]

If i were to make a blog about older latin women like singers and actresses, would anyone follow it?

[artes9]

Por Iliana Navarro

  Hace 10 años Hugo Mejuto, tuvo la extraordinaria idea de juntar a tres de las voces más bellas que la música pop de México nos dio: Manoella Torres, Dulce y Rocío Banquells, con el tiempo el concepto creció, tanto y cambio de integrantes, venían iban y regresaban algunas, crecía, se hacía mas pequeño, pero a lo largo de todos estos años ha tenido dos constantes, la voz de la mujer que nació para cantar, y la calidad de todas sus integrantes. Hoy Grandiosas cumplé 10 años y graba su tercer disco en vivo, con la presencia de invitadas y actuaciones especiales.

La cita fue el el 27 de noviembre en el teatro Metropolitan de la Ciudad de México. La noche empezó de lo más emotiva, con la presencia de Angela Carrasco, con sus interpretaciones de “Quizás”, “Por ti volare”, Y  “A mi manera”,  para dar paso a Manoella Torres. “Dame una cita”, presentó en el escanerio a “Maria del Sol”, lo mismo que para “Llámame si me necesitas” en un claro homenaje de la venezolana Karina a Miguel Mateos. La nostalgia de los 80 continuo con “No huyas de mi” y “Música ligera” con la presencia de Rocio Banquells”.

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Luego de la presentación de varias de ellas y este mix para hacer que el público entre en ambiente, las emociones herizaron la piel del respectable, ya que de inmediato se dió el momento más emotivo de la noche cuando Angela Carrasco interpretó “Quererte a ti”, en homenaje a su mejor amigo, Camilo Sesto.

  El resto del show las Grandiosas interceptaron sus piezas icónicas, Rocío “Abrazame”, Manoella “Acariciame”. Dulce “Heridas”, Karina “¿A quién?”; Por su parte Aranza se incorporó con Dulce y Manoella para interpretar “A la que vive contigo”, y a Maria del Sol la acompañó Carlos Cuevas para interpretar la icónica, “No prometas lo que no será”.

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Y así las 5 Grandiosas principales, Dulce, Karina, Manoela, Rocío y María, continuaron por espacio de una hora interpretando sus éxitos,  para que en la parte final se incorporará la Tesorito, Laura León, para interpretar un popurrí ctropical y dar paso a las famosas, “Dos Mujeres, un camino”, “Pachanga” y “suavecito”  para cerrar una maravillosa noche en la que las más de 2,000 personas, mujeres principalmente pasaron una Grandiosa velada.

Grandiosas 10 años de éxitos Por Iliana Navarro Hace 10 años Hugo Mejuto, tuvo la extraordinaria idea de juntar a tres de las voces más bellas que la música pop de México nos dio: …

[nancifernandes]

Cantaré Cantarás HQ HD (I will sing, You will sing)

Homenagem latina à infância mundial:

Fernando Allende. María Conchita Alonso, Apollonia Kotero. Ramón Arcusa (del Dúo Dinámico), Basilio, Braulio, Cantinflas, Irene Cara. Roberto Carlos, Nydia Caro, Vikki Carr, Verónica Castro, Charytín, Chiquetete, Claudia de Colombia, Gal Costa, Celia Cruz, Lupita D’Alessio, Guillermo Dávila, Plácido Domingo, Emmanuel, Sergio Fachelli, José Feliciano, Vicente Fernández, Miguel Gallardo, Lucho Gatica, Julio Iglesias, Antonio de Jesús, José José, Rocío Jurado, Lisset, Valeria Lynch, Cheech Marín, Sérgio Mendes, Lucía Méndez, Menudo, Miami Sound Machine, Amanda Miguel, Ricardo Montalban, Palito Ortega, Pimpinela (Lucía y Joaquín Galán), Tony Renis, Danny Rivera, José Luis Rodríguez “El Puma”, Lalo Schifrin, Simone, Manoella Torres, Pedro Vargas, Diego Verdaguer, Yuri

[apolllonia]

Si supieras lo que hecho por venirte a ver

Si supieras lo que he dicho por verte otra vez

No te enfadarías nunca y no dudarías de mi amor por ti

Si supieras que he mentido por volverte a ver

[whileiamdying]

‘I’m Still Here’ Review: When Politics Invades a Happy Home

The award-winning Brazilian film has been a major hit in its home country — and it’s easy to see why.

Fernanda Torres in “I’m Still Here.”Credit...Alile Onawale/Sony Pictures Classics

By Alissa Wilkinson Jan. 16, 2025 I'm Still Here NYT Critic’s Pick Directed by Walter Salles Biography, Drama, History PG-13 2h 16m

It may be axiomatic, but it’s still profound: our sense of self is determined by the accumulation of our memories. That’s why science fiction has obsessed over the idea of technologies that might delete or alter memory, and thus the memory-holder. It’s also why it’s so devastating to watch a loved one lose their memories, becoming some other person in the process.

This is true on the broader level, too; societies, after all, are just groups of people who share memories. Filmmakers from around the world, but especially from South American countries, seem particularly attuned to this fact lately. They propose that you can reshape the character of a group of people by messing with collective memory, and that’s why governments are often keen to brush over the past. In the last few years, acclaimed movies such as “Azor,” “The Eternal Memory” and “Argentina, 1985” have explored the personal impact of the mass disappearances under military dictatorships in Chile and Argentina. More broadly, they show how attempts to deny or ignore those disappearances have lasting effects on those who survived.

The beautiful, gutting “I’m Still Here” joins these with its own story, this one in Brazil. Directed by Walter Salles, one of the country’s most celebrated filmmakers, “I’m Still Here” is based on the 2015 memoir by Marcelo Rubens Paiva, whose father, the congressman Rubens Paiva, was among the estimated 20,000 people who were tortured during the military dictatorship from 1964 to 1985.

Skillfully crafted and richly shot, “I’m Still Here” begins in Rio de Janeiro in 1970 when, despite the encroachment of the military on daily life, the sizable, loving Paiva family is largely living in domestic bliss. Rubens (Selton Mello) has recently returned home from six years of self-imposed exile, following his ouster from government during the revolution. He and his wife, Eunice (Fernanda Torres), have five children, four daughters and a son, ranging in age from grade school to older teens. They live near the beach, entertain friends, dance in the living room and have a happy, bustling home. Rubens is still working to support political expatriates, but he keeps his activities out of his family’s sight.

One day, though, the couple’s daughter Vera (Valentina Herszage) is stopped and searched by the authorities while driving home from a movie with friends. Soon after, news of left-wing activists kidnapping the Swiss ambassador breaks, kicking off a period of instability that rapidly escalates. When men show up at the Paiva home, demanding Rubens come with them to some unknown place for questioning, Eunice and the children know something is happening. Rubens doesn’t return. And then Eunice and her daughter Eliana (Luiza Kosovski) are brought in for questioning, too.

This is the moment when the film pivots toward Eunice, who is not just the heroine in the film but in real life, too. This movie is her story: She is a woman whose life has been ripped to shreds, deciding that she will not be cowed. She will not only make a life for her children under immense, repressive odds, but pour herself into changing the world, too. In her performance — which won a Golden Globe and is aiming at an Oscar nomination — Torres stuns. Protecting her children means leaning into joy within the fear, hope in the midst of pain. Torres double-layers her performance with all of those emotions, and her searching eyes are magnetic.

But this is not just a movie about a strong woman, though it certainly is that. It’s also about what authoritarian regimes do to keep people in line, the totalitarian tactic of making people doubt what they know they’ve seen by insisting on unabashed lies. It’s not as if anyone barges into the Paiva home with guns and handcuffs — though Rubens’s privileged status as a former elected lawmaker and public figure, it’s suggested, has something to do with that.

Rather, the control comes through mind games and gaslighting, through denying the plain truth the family can see before their eyes. Official government claims of Rubens’s escape from confinement are obviously false (it took until 2014 for anyone to be charged with his death), and the family is left in limbo. It’s infuriating to watch, all the more because it really happened, and not just to the Paivas.

“I’m Still Here” stretches its storytelling across decades, tracing the long arm of the disappearances and their effect on a country, even when some might prefer to move on, to forget the past atrocities committed by those who are no longer in power. When a reporter asks Eunice if they shouldn’t just pay attention to more urgent issues than “fixing the past,” she firmly disagrees. Families should be compensated for the crimes, but more important, the country needs to “clarify and judge all crimes committed during the dictatorship,” she insists. “If that doesn’t happen, they will continue to be committed with impunity.”

“I’m Still Here” was released in Brazil in November 2024. Despite far-right campaigns urging people to boycott the film, it has been a huge hit, the highest-grossing Brazilian film in the country since the Covid-19 pandemic. Some have noted that the film hits hard in a country that — unlike Chile and Argentina — has never officially pursued accountability for the military’s role in torturing and murdering citizens during the dictatorship. The movie was also released just as details emerged of a plotted coup to keep former President Jair Bolsonaro, who defended the military dictatorship, in power after he lost the 2022 election.

So the film’s popularity is no mystery. Yet “I’m Still Here” does not present as a simple polemic about a historical and political situation, and that’s the secret to its global appeal. It’s also a moving portrait of how politics disrupts and reshapes the domestic sphere, and how solidarity, community and love are the only viable path toward living in tragedy. And it warns us to mistrust anyone who tries to erase or rewrite the past. Throughout the story, Salles repeatedly shows the family shooting photographs and Super 8 film that preserve their memories. The director has said that movies are “instruments against forgetting, and that he believes “cinema reconstructs memory.” With “I’m Still Here,” he’s aiming to make sure nobody can forget.

I’m Still Here Rated PG-13 for what happens during life under dictatorship, including sounds of torture. In Portuguese, with subtitles. Running time: 2 hours 16 minutes. In theaters.

A correction was made on

Jan. 16, 2025: An earlier version of this review described incorrectly some of the actions taken toward Brazilians by the military dictatorship. An estimated 20,000 people were tortured, but only hundreds disappeared.

When we learn of a mistake, we acknowledge it with a correction. If you spot an error, please let us know at nytnews@nytimes.com.

[archivomusicalrumberos1]

Manoella Torres - Acaríciame

[radio-tvmickyandoniesigloxx]

Manoella Torres – Si supieras

Para ver el vídeo completo ingresa al enlace:

http://mickyandoniehn.com/radio/2022/11/09/manoella-torres-si-supieras/

[devalongoria]

Una gran noche con un gran espectáculo con las cantantes Dulce, Manoella Torres, Rocío Banquells, la violinista Olga Breeskin y la Reina y Diva de Mexico Lucía Méndez! Una noche inolvidable y mágica! (at Copernicus Center) https://www.instagram.com/p/CVa3LPJrMHd/?utm_medium=tumblr

[jhonnycash]

Cuando Manoella Torres dijo 'Yo también puedo estar en onda' y se echó un intento de synth-pop con todo y efectos de voz robotizada, muy novedoso en esos tiempos en México #vinyl #ManoellaTorres #SiempreEnDomingo #ThrashyPop #1985 https://www.instagram.com/p/CIOiOD4nJVT/?igshid=11148klmrohqy

[archivomusicalrumberos1]

Eh Venido a Pedirte Perdon-Manoella Torres

[tijuanalocal]

GRANDIOSAS EN TIJUANA 2019 – 18 DE MAYO 🔆GranDiosas En Concierto🔆 Las espectaculares voces de seis talentosas mujeres harán vibrar a Tijuana. Dulce, Ángela Carrasco, María del Sol, Karina, Manoella Torres y Rocío Banquells llegarán a la ciudad con el espectáculo de GranDiosas.