With Emilia Pérez’s implosion, I’m Still Here is an Oscars frontrunner. Things could be better

The Academy Awards have long been considered the pinnacle of recognition in the film industry. The shortlist of nominees is often seen as a representation of the best art created in a given year, with the films chosen expected to stand the test of time as representations of the era in which they were made. However, in 2025, the Academy Awards seem to have missed the mark.
Looking at the best picture nominees for 2025, it is clear that there is a lack of groundbreaking and truly impactful films. While Dune: Part Two may stand out for its occasional experimentation, other nominees like Nickel Boys and The Brutalist offer sociopolitical commentary that may not resonate with all audiences. Films like Conclave, Wicked, and Anora provide entertaining popcorn fare but lack lasting impact or depth. And then there are movies like Emilia Pérez and The Substance, which fail to deliver on both artistic and intellectual levels, coming off as pretentious and uninspired.
One film that stands out among the nominees is I’m Still Here, a Brazilian film directed by Walter Salles. The movie tells the real-life story of the Paiva family, focusing on the struggles of Eunice (played by Fernanda Torres) during the military regime of 1970s Brazil. Eunice navigates the dangers of the regime while trying to maintain a sense of normalcy for her family, even as her husband is disappeared by the authorities.
While I’m Still Here offers a compelling performance by Fernanda Torres, the film itself falls short of delivering a powerful message. Despite its attempt to draw parallels to current Brazilian politics, the movie feels sterile and lacks urgency. It presents a familiar character study without offering anything truly innovative or thought-provoking.
Director Walter Salles has explored similar themes in his past work, such as Central Station, which delved into post-dictatorship Brazil with more depth and humanity. I’m Still Here, on the other hand, feels like a missed opportunity to deliver a compelling narrative about resistance and survival in the face of tyranny.
Despite its flaws, I’m Still Here stands slightly ahead of the other best picture nominees for 2025. Its faultless execution may appeal to the Academy Awards campaign strategy, which often relies on larger narratives in the media to sway voters. However, controversies surrounding the film, such as accusations of unethical campaigning, raise questions about its suitability as a winner.
In the end, I’m Still Here may not be the worst choice for an Academy Award winner, but it also may not be a film that audiences will remember in the years to come. In a year with lackluster nominees, the film’s success at the Oscars may be more a result of marketing tactics than true merit.