2024 hits the wound that still, to this day, hurts Brazilian cinephiles—from the penalty of the 1999 “World Cup” to the loss of the golden bald statuette. That unforgettable night when Brazil’s national treasure or grand dame of dramaturgy, Fernanda Montenegro, lost the Best Actress Oscar to Gwyneth Paltrow still stings. She was set to make history as the first Latin American woman, and the first Brazilian, to compete for the title. A quarter of a century later, the apple doesn’t fall far from the tree. Her daughter, Fernanda Torres, is the current darling of the 2025 Academy Awards for her lauded role in I’m Still Here (Walter Salles, 2024). 2025 promises to be a golden year for Brazil, with double the odds, thanks to the equally praised Wagner Moura in Civil War (Alex Garland, 2024). Will 2025 be the year Brazil brings home the Oscar gold? Let’s explore their remarkable journeys.
Fernanda Torres has lived and breathed the performing arts since birth, growing up backstage alongside her veteran actor parents and her hobbies involved arts too. Unsurprisingly, she began her acting career early, enrolling in a renowned drama school in Rio de Janeiro at the age of 13. Her stage debut came in 1978, followed by television novelas in 1979, and her film debut in 1982. At just 20 years old, Torres made history as the first Brazilian woman to win the prestigious Prix d'Interprétation Féminine at the Cannes Film Festival and Brazilian national prestigious award in Gramado. Many iconic characters and movies behind her back and roots within' her parents. A worthy mention is her protagonist role in Orlando, a theatrical adaptation of Virginia Woolf's classic, in the 1980s.
Fernanda Torres has become renowned for her ability to portray characters that blend sharp wit with profound emotional depth. Throughout her career, she has expertly navigated a range of roles that reflect the nuances of Brazilian society. From her early days on stage and screen, Torres has consistently delivered performances that are both engaging and thought-provoking, embodying the complexities of modern Brazilian life and the struggles of a privileged white middle class. Her characters also often challenge traditional gender roles, assert their independence and sexuality with confidence, while keeping their femininity. It’s also worth noting that one of her notable roles emphasizes the power of female friendship and sisterhood, showcasing the deep bonds and solidarity between women. Not only that, but her presence within texts or the authentic public persona she crafted. It is worth mentioning her books, where she revolutionises with the use of a masculine perspective.
Fernanda Torres burst the bubbles within Brazil in the 1990s with her characters. Bubbles that have always existed in Brazil—a country marked by divisions since the start of colonisation, with the captaincies, before the diversity of Indigenous nations across the land, and later through its states and regions. It is a country marked by socio-economic divides and political fractures across election periods. The internet gives us a false sense of connection through algorithms and toxic cancel culture, playing a role in creating our cliques. All of this contributes to social divisions, sometimes even between generations. Salles’ film acts as a bridge in theatres, though it’s worth considering the high ticket prices and the lack of accessibility in some venues, which only reinforce these divisions. She became widely known through her comedy programmes and television humour. Her scenes and presence are current viral memes and resonate to this day, connecting with younger generations.
Wagner Moura's career began in the theatres of Salvador before transitioning to television, cinema, and streaming platforms. Known for his intense and complex portrayals, Moura's characters exhibit a remarkable emotional depth and range. His roles frequently delve into themes of power, morality, and social issues, with Moura infusing his performances with a raw, magnetic energy that renders his characters both compelling and multidimensional, whether as heroes or antiheroes.
However, it’s important to note that early in his career, Moura's roles in telenovelas and television productions often perpetuated stereotypes, featuring exaggerated traits and accents typical of northeastern characters in popular media. This generalization oversimplified the rich diversity of Brazil's nine northeastern states, sometimes reinforcing clichés rather than reflecting the true complexity of the region.
It’s worthwhile to examine the contrasts between Fernanda Torres and Wagner Moura. Torres, benefiting from familial connections and hailing from the economically privileged Southeast region of Brazil, represents the more homogeneous Brazilian identity typically associated with the middle and upper classes of the Rio de Janeiro-São Paulo axis. Her background affords her significant advantages in terms of resources, opportunities, and representation in the entertainment industry.
In contrast, Wagner Moura's career began in Salvador,(Bahia) a city renowned as a cultural hub for literature and music but often marginalized in the audiovisual industry. Early in his career, Moura faced the challenge of overcoming outdated stereotypes and forced accents in portrayals of Northeastern characters, which have been caricatured through practices like “Brazilian yellowface.” This term refers to non-Northeastern actors using makeup to exaggerate traits of Northeastern characters, contributing to the underrepresentation and unemployment of Northeastern performers. Bahia, Brazil's most Black, and Northeastern, most economically disadvantaged region, also grapples with issues of racism and xenophobia. Despite these challenges, Moura’s international career took off more swiftly than Torres’, possibly influenced by gender privileges within the industry. Even though, he moved to the US, whereas Torres remains in Brazil. Both have a repertoire with critical acclaim and beloved by the public.
Another important observation pertains to Wagner Moura’s recent comments about his desire to portray Brazilian characters and highlight the nuances of Brazilian and Latin American culture in international productions. Despite this ambition, Moura is globally recognized for his role as the notorious Colombian drug lord Pablo Escobar. This role contributes to a problematic stereotype of Latin America abroad, where screens and Hollywood wield significant soft power in shaping Western perceptions and cultural models.
Escobar’s portrayal perpetuates the association between Colombia and narcotrafficking, and Latin America with danger and escape routes, often depicting Latino characters through a lens of macho culture and police showmanship. While the character humanizes a 1970s U.S. villain, it also reinforces a narrow and dangerous stereotype. This issue may be influenced by broader political contexts, such as the recent American presidential elections. As we look ahead to 2024 and beyond, could 2025 be the year when the Academy Awards finally celebrate two Latinos with golden statuettes, signalling a shift towards more nuanced and diverse representations, and the truce between Brazil and Oscars? Though it’s worth mentioning the diversity of awards and the Oscars not being the only yardstick, the impact of an audience goes beyond a bald golden statuette.
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