When Walter Salles' I'm Still Here opened in Brazil in November 2024, it did so under the shadow of living political wounds. Elements of the Brazilian far right — some openly denying the characterization of the 1964–85 military regime as a dictatorship — attempted to organize a boycott of the film, deeming its portrayal of forced disappearances and state violence as a political attack. The campaign failed spectacularly at the box office: the film debuted at number one, quickly became the highest‑grossing Brazilian film since the pandemic and was embraced during national moments (including the 40th anniversary celebrations of Brazil's return to democracy). The awards season that followed was no less combustible. As the film rose to prominence — picking up Venice screenplay honors and ultimately an Academy Award for Best International Feature — the Wikipedia entry records further controversy: an awards‑season clash involving alleged attempts to smear I'm Still Here's campaign and a separate controversy around Karla Sofía Gascón. Pundits quoted in festival and awards coverage argued these skirmishes shifted momentum in the Best International Feature race (notably affecting a French contender led in some predictions by Emilia Pérez), exposing the ugly mechanics of modern awards politics where political disputes, personal scandals, and press smear attempts can decisively alter outcomes and public narratives.
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