Vitória

Fernanda Montenegro is perfect on this movie, she knows how to play drama.

The movie has a screenplay that keeps you tense since the begginning!!!

Fernanda Montenegro made great scenes in silence, showing his brilliant job as actress.

There are some controversy about the character "Nina" performed by Fernanda Montenegro, because Nina is a black woman on the real story but Fernanda Montenegro isn't.

The brazilian movies are becoming increasingly high quality on the last years.

I totally recommend watching this brazilian masterpiece performed by our best brazilian actress Fernanda Montenegro.

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.

"Vitória" is built on a real-life story of huge significance in Rio de Janeiro's recent history, but what truly holds the film together from start to finish is Fernanda Montenegro. The plot follows Nina, an elderly woman who, tired of the violence around her and the authorities' inaction, decides to document the drug trade that dominates her neighborhood. What starts as an individual act of resistance turns into something much bigger when she exposes the connection between criminals and the police. Directed by Andrucha Waddington after Breno Silveira's passing, the film carries historical weight-not just for the story it tells but also for the journey it took to make it to the screen. However, despite the sheer power of its protagonist, it never reaches the level of grandeur the story suggests, choosing a safer, more conventional path instead.

The biggest strength of "Vitória" is Montenegro's performance, once again proving her ability to carry an entire film with just a look, with silences and tiny gestures that say more than any line of dialogue. Her Nina is a woman of resilience, refusing to be a victim of her circumstances and facing her opponents with unwavering dignity. She's not a heroine designed for grand speeches or over-the-top moments, and it's precisely this more restrained approach that makes her so believable. Fernanda gives the character a strength that doesn't come from dramatic outbursts but from the quiet confidence of someone who knows they have nothing to lose.

Beyond her, the supporting cast does its job well, especially Thawan Lucas as Marcinho, the kid from the community who forms a strong bond with the protagonist. Their dynamic is one of the film's highlights, bringing warmth and humanity to the story. Linn da Quebrada, as Nina's neighbor Bibiana, has limited screen time but leaves an impression, while Alan Rocha plays journalist Fábio Gusmão as more of a functional presence rather than a deeply developed character. The script, in fact, doesn't seem too interested in fleshing out the supporting characters, focusing almost entirely on Nina. This reinforces the idea that "Vitória" was built to showcase its lead actress, but it also limits the story's complexity by downplaying the impact of figures who could have enriched the narrative.

Visually, the film does a solid job of recreating Rio de Janeiro in 2005, transporting the audience to that time with an effective sense of realism. Andrucha Waddington's direction is competent and to the point-nothing too bold, but effective enough to give "Vitória" the necessary tension in its most critical moments. The cinematography and production design work well to build the setting, and the camera often takes Nina's perspective, reinforcing the idea that we're discovering everything alongside her. However, the direction never truly takes risks, and the film's visual language sticks to a classic style, without major aesthetic or narrative innovations.

On one hand, choosing to focus on the protagonist's emotional journey makes sense, but on the other, the film misses the chance to dive deeper into more complex discussions. The corrupt system Nina is up against is portrayed almost simplistically, without much nuance or surprises. The threats she faces could have carried more dramatic weight, and the impact of her discoveries never fully lands. The film is content with telling the story of a determined and courageous woman but shies away from fully exploring the political and social layers that make this story so significant.

Overall, "Vitória" is a solid film, anchored by a masterful performance, but one that ultimately stays in its comfort zone. It's impossible not to be drawn into the protagonist's journey or moved by her fight, but there's a lingering sense that the film could have been more. What's clear is that the real strength of "Vitória" lies in Fernanda Montenegro-without her, the film's impact would be considerably weaker. Even so, it's a movie worth watching, if only to witness yet another flawless performance from one of the greatest actresses in Brazilian cinema.

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.