Vitória

At the beginning of the film, I must admit I was unsure if I would feel any emotional impact after the whirlwind that was I'm Still Here. I wondered if anything could resonate as deeply. However, as the story slowly unfolded, I was gradually drawn into its atmosphere. The film grew in an incredibly fascinating and unexpected way, with each scene building on the last in a delicate yet powerful rhythm. The direction was subtle but effective, allowing the emotional weight to speak for itself. Fernanda's performance, as always, was absolutely outstanding-filled with nuance, vulnerability, and strength. She brought a raw, human truth to the screen that was impossible to ignore, and her presence was a driving force behind the film's emotional depth. The cinematography, score, and overall production design complemented the narrative beautifully. In the end, it became a memorable and moving experience. Congratulations to all involved!

The film drags on with a monotonous story, Fernanda Montenegro no longer conveys the emotion she used to. Not to mention the embarrassing situation of having a white woman play a character who in real life was a black woman. It's not a horrible film, you can watch it until the end, but it's not memorable either, much less a candidate for anything.

It seems much more like a film made with the intention of having a long international reach, due to the choice of the protagonist and who produced it (the pretentious Globo), but all that was missing was to stick to the main thing: script and execution, in addition to having thought of a black actress, it could be Neusa Borges, for example.

The film makes good use of its theme and characters to create an intimate portrait of a typical Rio reality, now common to other major Brazilian cities. Based on the true story of Joana da Paz, a woman of humble origins who, after buying the long-awaited apartment in Copacabana, ends up surrounded by crime and drug trafficking. With a strong and determined personality, she decides to denounce this reality. The film Vitória does not innovate, does not try to be modern - it is a classic, conventional drama, with touches of a police thriller. I think it could have been a little faster, especially in the first half. Andrucha prefered a more measured pace. Well-made, with a well-rounded and well-constructed script, excellent actors, a well-crafted production and a good period reconstruction (the story is set in 2005), Vitória touches on issues that are still current and urgent, without fanfare. Drug trafficking, police corruption, and child enticement are all present in the film. Fernanda, although she does not have the energy she once had, gets the job done and carries the film on her shoulders. I didn't know the actor Alan Rocha, who plays the police chief, a great revelation, a strong presence on screen, not to mention the young Thawan Lucas, very well used. Vitória is not a Still Here, it won't win awards worldwide, but it is first-class cinema and deserves to be seen and appreciated.

It is impossible to talk about Andrucha Waddington work without praising how grand Fernanda Montenegro performance is. She was 92 years old when the film was shot, and according to her, this will likely be her last cinematic work due to the exhaustion and demands of filmmaking. The movie is being released at a time when Brazilian cinema is thriving, which brings it the prestige and attention it deserves, despite a terrible choice in visual promotion, such as the much-criticized controversy surrounding the film's main poster.

Fernanda Montenegro portrayal of Nina is deeply moving, it makes you laugh, cry, and truly feel the tension and loneliness that the character often tries to hide. It is a performance to be remembered, an important work in itself. However, while Fernanda Montenegro shines, it feels like she shines alone for almost half the film. The supporting cast fails to contribute to the depth of her performance, with some scenes coming across as cringe-worthy in terms of acting, cinematography, and especially direction. At times, it seemed as though Andrucha forgot he was making a movie and was instead directing an episode of a bad TV series, particularly in scenes involving the residents of Nina condominium. In these moments, Fernanda Montenegro carries the film entirely on her own.

However, in the second half, with the appearances of Alan Rocha, Laila Garin, and some remarkable scenes featuring the young Thawan Lucas, everything around her begins to shine. The film's tone shifts, and the performances of all involved elevate Fernanda Montenegro even further.

Overall, it is a good Brazilian film that touches on delicate and complex aspects of our national identity. It is amusing, though, to see people's initial expectations that this would be the next Im Still Here, only to realize that making a film like that is extremely difficult. But Brazilian cinema does not need to be an award-winning masterpiece, it just needs to be a good national film, one that we can appreciate, recognize, and be willing to pay to see in theaters.

This film is yet another sad example of Brazilian productions that insist on being slow, dragged-out, and utterly pointless. The story is pure suffering from beginning to end, with a script that seems determined not to go anywhere, as if boring the audience were some kind of artistic statement. Fernanda Montenegro's performance is simply deplorable: empty, expressionless, and completely disconnected from any believable emotion. At times, it's downright embarrassing to watch. Honestly, it should be considered elder abuse to force someone at her age to work under such conditions, without the slightest concern for direction, pacing, or the final result. Watching this feels less like cinema and more like a test of patience.