‘I’m Still Here’ Star Fernanda Torres on Being Brazil’s Viral Social Media Sensation and Why This Year Has Been Amazing for Women ‘Over a Certain Age’
Fernanda Torres sits in her New York City hotel room, her calm demeanor masking the whirlwind few weeks she’s had. Fresh off her Golden Globe win for best actress (drama) for her searing performance in “I’m Still Here,” Torres is gearing up for a guest appearance on “Jimmy Kimmel Live!” this Thursday. It’s a momentous time for the actress whose immense talent Hollywood is just discovering. But for the people of Brazil, Torres has been a household name — celebrated for her wit, fearless performances, and devotion to championing Brazilian stories on a global stage.
In her native country, Torres is more than just an actress — she’s a national treasure.
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“America has Taylor Swift, but Brazil has Fernanda Torres,” someone joked online, a sentiment Torres laughs off with her characteristic charm.
“I’ve been around for decades,” Torres tells Variety. “In Brazil, they know me well. Here, people are finally catching up. Better late than never, right?”
The acclaim for Torres’ performance in “I’m Still Here” is well-deserved. In the real-life drama, she portrays Eunice Paiva, a woman whose husband was arrested by Brazil’s military police in 1970 and vanished without a trace. The film, which premiered at the Venice Film Festival to a 10-minute standing ovation, is among the year’s best, and the buzz for Torres is surging in the final days of Oscar voting.
Often described as the “Nicole Kidman of Brazil,” Torres first captured attention in 1986, when she tied with Barbara Sukowa for the Best Actress prize at the Cannes Film Festival for her performance in “Love Me Forever or Never.” In Brazil, she starred in the hit sitcom “Slaps & Kisses” and earned a younger fan base through viral memes celebrating her comedic timing.
But then, she won the Golden Globe over Hollywood A-listers such as Angelina Jolie (“Maria”) and Kate Winslet (“Lee”). It wasn’t just a personal victory but a moment of national pride for Brazil. Torres recalls a particularly moving moment after the ceremony:
“A woman on the national news said, ‘When she won, I felt like I had won,’” Torres says, her voice soft but steady, her eyes shimmering with emotion. “It was a recognition not just of me, but of Brazil. First, my mother [Oscar-nominated actress Fernanda Montenegro] with ‘Central Station,’ and now me? It’s a patriotic award. It shows the world the talent of our country.”
Torres credits Brazil’s vibrant online culture for amplifying her success. With over 200 million Brazilians passionately supporting her, the actress says the country’s digital presence has been instrumental in her rise to global stardom.
“Brazil is a power machine on the internet,” she explains. “We’re heavy, heavy users. Ten years ago, I didn’t want to be online. I didn’t want to sell my private life. But my agent said it was important for my theater work, so we built my internet presence around that. Now, after the Golden Globe, it’s skyrocketed. It’s surreal.”
The strategic and organic social media use seems to have mirrored other viral campaigns like that of India’s “RRR” stars N.T. Rama Rao Jr. and Ram Charan, whose online engagement helped propel the original song “Naatu Naatu” to Oscar glory. These posts and tweets have racked up millions of impressions, drawing attention to a film that could add more nominations in categories like adapted screenplay and perhaps even best picture.
However, this past year, Torres, her team, and filmmakers had to navigate unexpected challenges when Brazil’s Supreme Federal Court temporarily blocked Twitter access for all Brazilians from August to October 2024. The controversial move frustrated many artists and filmmakers who rely on social media to connect with fans.
“That was a problem,” Torres recalls. “Brazil is a power machine when it comes to the internet.”
Despite the hurdles, Torres has embraced her newfound visibility. Social media platforms like Instagram and TikTok have helped her connect with audiences worldwide, and in true Brazilian fashion, she even has a Carnival bloc named in her honor.
“That’s the peak of a career,” she says laughing but visibly prideful. “To have a group parading in the streets dedicated to you? That’s something special.”
If nominated for Oscar, Torres could become only the fifth Latina in history to receive a best actress nod, a category yet to see a winner and a milestone she doesn’t take lightly.
“I hate to have expectations,” Torres admits. “I would hate for this film’s journey to end with the feeling of ‘They didn’t get it.’ It’s so tough to predict this year — so many great performances. What I do know is that we’ve done everything we can — screenings, interviews, everything Sony Pictures Classics has asked of us. If it happens, it happens. If not, I already feel incredibly honored.”
Torres credits independent distributor Sony Pictures Classics (SPC) and its co-presidents, Michael Barker and Tom Bernard, for their dedication to getting audiences to see the film. She describes their promotional efforts as “old-fashioned, good work” and praises the industry’s growing openness to diverse and mature narratives.
“This year has been amazing for women over a certain age,” Torres says, referencing powerhouse performances by Nicole Kidman (“Babygirl”) and Demi Moore (“The Substance”). “It’s wonderful that we don’t have to be forever young to have interesting characters. The industry is changing, and it’s exciting to be part of that.”
A potential Oscar nod would place Torres and her mother, Fernanda Montenegro, in the rarefied club of mother-daughter Oscar nominees. The distinction would cement their family legacy alongside acting dynasties like Judy Garland and Liza Minnelli, Diane Ladd and Laura Dern, and Janet Leigh and Jamie Lee Curtis.
While Torres is now an international sensation, her roots remain firmly planted in Brazil. When asked about being recognized as part of the Latino community — a topic she addressed during her acceptance speech at the Latino Cinema and Television celebration, where she won best actress (international) — Torres reflects on the unique position of Portuguese-speaking Brazilians in the Latin world.
“Two hundred million people speak Portuguese in Brazil, yet we feel isolated,” she says. “In Miami or Los Angeles, everyone speaks Spanish. But we’re part of the Latin family, even if we speak a dialect. It’s a mixed feeling, but I’m proud to represent Brazil and the Portuguese-speaking world on this stage.”
As for what’s next, Torres remains focused on telling meaningful stories, no matter where they come from.
“It’s the same career,” she says of her work in Brazil and internationally. “If a good role comes, whether here or back home, I’ll take it. I want to keep telling meaningful stories.”
For Torres, the success of “I’m Still Here” is about more than awards — it’s about honoring the legacy of Eunice Paiva and sparking global conversations about Brazil’s history.
“I never imagined this film would lead to the Golden Globes or the Oscars,” she says. “We made it to tell Eunice Paiva’s story, to honor her legacy. If it resonates with people and sparks a conversation, that’s the real victory.”
The legacy is resonating, with the film opening in U.S. markets today, and in Brazil, it’s already grossed more than $12 million on a $1.5 million budget. Not bad for a Brazilian powerhouse.
In a year marked by change and uncertainty, Torres has emerged as a symbol of resilience, passion, and artistry. Whether or not she takes home an Oscar, one thing is sure: the world is finally catching up to the brilliance Brazil has known all along.
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