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    ‘I’m Still Here’ Wins Oscar for Best International Feature

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    The Brazilian film “I’m Still Here,” based on the true story of an activist whose dissident politician husband disappeared at the hands of a military government, won the Academy Award for best international feature.Directed by Walter Salles, the movie was a blockbuster in Brazil, where many remember the legacy of the military dictatorship, which lasted from 1964 to 1985. The film is based on a memoir of the same name by Marcelo Rubens Paiva: the son of Eunice Paiva, the film’s main character, and Rubens Paiva, her politician husband who disappeared after being arrested in a 1971 military raid of the Paiva house.“This goes to a woman who, after a loss suffered during an authoritarian regime, decided not to bend and to resist,” Salles said while accepting the award. “This prize goes to her. Her name is Eunice Paiva. And it goes to the two extraordinary women who gave life to her: Fernanda Torres, and Fernanda Montenegro.”The film’s lead actress, Torres, won the Golden Globe for best actress in a drama in a surprise victory in January and was also nominated for the best actress Oscar, but lost to Mikey Madison of “Anora.” Torres was the second Brazilian actress to receive a nod for that prize: The first was her mother, Montenegro, a grande dame of Brazilian film who plays an older version of her daughter’s character in “I’m Still Here.” She was nominated in 1999 for “Central Station,” also directed by Salles.“I’m Still Here” won in a category that included France’s entry, the Spanish-language musical “Emilia Pérez,” which was once an Oscars front-runner; the Danish social drama “The Girl With the Needle”; the wordless Latvian animated film “Flow”; and “The Seed of the Sacred Fig,” a film shot in secret in Iran and submitted by Germany.“I’m Still Here” is also nominated for best picture, making it the first Brazilian-produced film to compete for the top prize at the Oscars. More

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      Why These Oscars Mean So Much to Brazil

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      The best picture and best actress nominations for “I’m Still Here” have inspired national pride in a country whose culture has long been overlooked.The streets of Rio de Janeiro have been littered with Fernanda Torres imitators.They drink beer, clutch plastic Oscars and deliver the impromptu acceptance speeches that they hope their idol, the Brazilian actress Fernanda Torres, will give on Sunday night at the Academy Awards.“It’s the peak of fame in Brazil: to become a costume of Carnival,” Ms. Torres said at a film festival in California this month, referring to her many impersonators during pre-Carnival celebrations over the past several weeks.Ms. Torres was already widely famous in Brazil, but now she has become the nation’s star of the moment for achieving something that has long eluded most of her peers and predecessors here: international recognition.Since winning a Golden Globe for best actress last month, she has been on an international Oscars campaign for “I’m Still Here,” the Brazilian film about a mother of five navigating the disappearance of her husband during Brazil’s military dictatorship.Ms. Torres is nominated for best actress while the film is up for best international feature and — in the first such nomination for a Brazilian movie — best picture.Breno Consentino, 21, dresses up as “Fernanda’s Oscar” during a street party in Rio de Janeiro. The year’s hottest Carnival costume in Brazil is Fernanda Torres, who is nominated for an Oscar for best actress.Maria Magdalena Arrellaga for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Carlos Diegues, Filmmaker Who Celebrated Brazil’s Diversity, Dies at 84

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      Seeking to shed the gauzy influence of Hollywood and focus on Brazil’s ethnic richness and troubled history, he helped forge a new path for his country’s cinema.Carlos Diegues, a film director who celebrated Brazil’s ethnic richness and its social turbulence, helping to forge a new path for cinema in his country, died on Feb. 14 in Rio de Janeiro. He was 84.His death, in a hospital, was announced by the Brazilian Academy of Letters, of which he was a member. The academy said the cause was complications of surgery. The Rio newspaper O Globo, for which Mr. Diegues wrote a column, reported that he had suffered “cardiocirculatory complications” before the surgery.Mr. Diegues, who was known as Cacá, was a founder of Cinema Novo, the modern school of Brazilian cinema that combined Italian Neo-Realism, documentary style and uniquely Latin American fantasy. He focused on hitherto marginal groups — Afro-Brazilians, the poor, disoriented provincials in an urbanizing Brazil — and was the first Brazilian director to employ Black actors as protagonists, in “Ganga Zumba,” (1963), a narrative of enslavement and revolt that was an early cinematic foray into Brazil’s history of racial violence.The often lyrical results, expressed over the course of 60 years in dozens of features and documentaries, charmed audiences in his own country and abroad, though critics sometimes reproached him for loose screenplays and rough-edged camera work.José Wilker, left, and Principe Nabor in “Bye Bye Brazil” (1979). Mr. Diegues’s international breakthrough, it was nominated for a Palme d’Or at Cannes.Ademir Silva/LC Barreto Productions, via New Yorker FilmsMr. Diegues’s international breakthrough film, “Bye Bye Brazil” (1979), nominated for a Palme d’Or at Cannes, is considered the apotheosis of his dramatic visual style and of his preoccupation with those on the margins of Brazilian society. It follows a feckless group of rascally street performers through the outback, documenting a vanishing Brazil where citizens in remote towns are beguiled by fake falling snowflakes — actually shredded coconut — and hypnotized, literally, by a rare communal television set.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      5 Minutes That Will Make You Love Brazilian Jazz

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      When the term “Brazilian jazz” arises, one might think of bossa nova, or Sergio Mendes (its most popular purveyor), and stop there. But there’s a world beyond those sunny instrumentals and bright vocals, where artists like Hermeto Pascoal, João Donato and Leny Andrade show that Brazilian jazz can be funky, soulful and esoteric. This type of jazz had deeper resonance beyond the oceanfront views it conjured.The origins of Brazilian jazz are often traced to the late 1950s, to the advent of bossa nova by the composers Donato and Antônio Carlos Jobim. Blending samba (a style of music born out of the Afro-Brazilian communities in Rio de Janeiro and Bahia) with American jazz, bossa nova — which means “new wave” — reached its apex in 1964 when “The Girl From Ipanema,” sung by the Brazilian vocalist Astrud Gilberto, hit the U.S. singles chart, and won the Grammy for record of the year in 1965. Yet before the song’s success, American composers like Quincy Jones, Herbie Mann and Dave Brubeck recorded bossa nova albums, which stoked the curiosity of U.S. listeners.Thanks to the contributors below, a mix of musicians, writers and scholars, we get to hear Brazilian jazz beyond the gravitational pull of bossa nova and samba, from its height in the ’60s to the present day. And while you’ll see familiar names pop up more than once, they’re often in conversation with others from the broad space of the genre. Traces of bossa nova and samba emerge, but these selections also take fusion, ambient and psychedelia into account. You can find a playlist at the end of the article, and be sure to leave your own favorites in the comments.◆ ◆ ◆Jeff Caltabiano, writer and historianSão Paulo Underground, “Jagoda’s Dream”Brazil, a country rich with Indigenous musical traditions, has had an ongoing dialogue with the (North) American jazz tradition since the 1950s. That dialogue has broadened well beyond the breezy straightjacket of bossa nova. The visionary American composer and cornetist Rob Mazurek spent eight years living in Brazil, and has been in musical conversation with the São Paulo-born musicians M. Takara and Guilherme Granado for two decades, with the group São Paulo Underground. Takara and Granado go back even further, having met as teenagers in the city’s punk scene. Granado’s hazy keyboards open up “Jagoda’s Dream,” from the band’s third album, “Três Cabeças Loucuras” (“Three crazy heads”), from 2011. The song was written for their friend’s daughter, with a melody and harmony by Mazurek and an infectious cavaquinho rhythm pattern by Takara. The cavaquinho, a miniature guitar with a bright sound, is prominent throughout. During the recording, Takara played cavaquinho with his hands while playing the drums with his feet. Richard Ribeiro played second drums. The song is a firecracker that represents São Paulo’s creative music scene and its hybrid of sounds. A chorus of voices takes us out, wordlessly repeating the rhythm pattern, about to wake from Jagoda’s magnificent dream.Listen on YouTube◆ ◆ ◆Joyce Moreno, singer and composerTenório Jr., “Embalo”In the early 1960s, bossa nova was at its peak in Brazil and was also growing worldwide. Some Brazilian musicians who were fluent with both bossa nova and jazz began to organize themselves into instrumental groups, mostly trios, but adding horns on occasion. They created music — samba-jazz they called it — with inventive improvisation, sultry rhythms and creative harmonies. One of the most brilliant pianists to emerge from the samba-jazz movement was Tenório Jr. In 1964, at 23, he recorded his one and only album as a leader, “Embalo,” which is now widely acknowledged a classic of the genre. On the title track, a composition by Tenório arranged by the alto saxophonist Paulo Moura, Tenório’s solo is a gorgeous example of the heights that made-in-Brazil jazz could achieve. Unfortunately, that recording is the only taste of Tenório’s genius we still have. In Buenos Aires in 1976, while on tour as a sideman for the Brazilian poet Vinicius de Moraes, Tenório mysteriously “disappeared” in Argentina on the eve of that country’s military coup (a story told in the excellent animated film “They Shot the Piano Player” by the Spanish filmmakers Fernando Trueba and Javier Mariscal). Tenório’s music, however, lives on forever.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Sergio Mendes, 83, Dies; Brought Brazilian Rhythms to the U.S. Pop Charts

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      A pianist, composer and arranger, he rose to fame with the group Brasil ’66 and remained a force in popular music for more than six decades.Sergio Mendes, the Brazilian-born pianist, composer and arranger who brought bossa nova music to a global audience in the 1960s through his ensemble, Brasil ’66, and remained a force in popular music for more than six decades, died on Thursday in Los Angeles. He was 83.His family said in a statement that his death, in a hospital, was caused by long Covid.Mr. Mendes released more than 30 albums, won three Grammys and was nominated for an Academy Award in 2012 for best original song (as co-writer of “Real in Rio,” from the animated film “Rio”).His career in America took flight in 1966 with Brasil ’66 and the single “Mas Que Nada,” written by the Brazilian singer-songwriter Jorge Ben. The Mendes sound was deceptively sophisticated rhythmically but gentle on the ears, suavely amplifying the original guitar-centered murmur of bossa nova with expansive keyboard-driven arrangements and cooing vocal lines that usually included Mr. Mendes himself chiming in alongside a front line of two female singers.Signed by Herb Alpert, Mr. Mendes’s group, Brasil ’66, scored a gold record with its first release on his label, A&M Records.A&MThe group’s lilting, sensual pulse came to embody an adult contemporary cool in the 1960s that contrasted pointedly with the ascendant youth culture dominating the pop charts in the wake of the Beatles.“It was completely different from anything, and definitely completely different from rock ’n’ roll,” the Latin music scholar Leila Cobo observed in the 2020 HBO documentary “Sergio Mendes in the Key of Joy.” “But that speaks to how certain Sergio was of that sound. He didn’t try to imitate what was going on.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Antônio Meneses, Lyrical Brazilian Cellist, Is Dead at 66

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      He began playing as a child and quickly found success for his technical command and, as one critic put it, his “thoughtful elegance.”Antônio Meneses was 10 when he and his four brothers were recruited for the Rio Municipal Theater Orchestra. Their father, a French horn player in Rio de Janeiro, decided that his children should play string instruments to increase their employment odds.By the age of 24 Mr. Meneses had exceeded his father’s expectations: He had won two major international cello competitions, including the Tchaikovsky Competition in Moscow, and was on his way to making recordings of Brahms and Richard Strauss with Herbert Von Karajan and the Berlin Philharmonic. He was later recruited by Menahem Pressler to become the last cellist in the late 20th century’s greatest piano trio, the Beaux Arts Trio.Mr. Meneses, who became one of his generation’s premier cellists and an important figure in the musical life of his native Brazil, died on Aug. 3 in Basel, Switzerland. He was 66.His death, in a hospital, was confirmed by his agent, Jean-Marc Peysson. The Brazilian news media said the cause was brain cancer.With his serious, concentrated playing, his singing tone, his sure technique and his absolute dedication to the musical text, Mr. Meneses marked himself as a musician’s musician.He was sought after by conductors like Zubin Mehta, Claudio Abbado and Andrew Davis, and by recitalists like the great Portuguese pianist Maria João Pires, with whom he recorded Brahms and Schubert, as well as the pianist Cristina Ortiz, his compatriot, with whom he recorded a memorable Villa-Lobos disc.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      Silvio Santos, Provocative Brazilian Television Host, Dies at 93

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      He was best known for the long-running variety show “Programa Silvio Santos,” on which he charmed his audiences with gimmicks and showcased a range of performers.Silvio Santos, a Brazilian media mogul and television personality who built one of the country’s biggest entertainment empires, died on Saturday in São Paulo. He was 93.His death, in a hospital, was caused by bronchopneumonia related to a case of H1N1 flu this month, according to a statement by SBT, the television channel he owned.Mr. Santos spent more than six decades in front of the camera. He created and hosted several popular variety shows, including Brazil’s homegrown version of “Who Wants to Be a Millionaire.” His best-known show, “Programa Silvio Santos,” has been on the air since 1963. (His daughter Patrícia became the host in 2021, although he continued to appear occasionally.)Every Sunday night, viewers watched Mr. Santos shimmy with dancers, hand out prizes to a mostly female audience, and showcase a range of performers, including circus acrobats, drag queens and hypnotists.“It wasn’t Sunday without Silvio Santos on the television screen,” said Geraldo Alckmin, Brazil’s vice president, who knew Mr. Santos personally. “He would become part of every Brazilian family in this fun, relaxed way.”A natural showman, Mr. Santos came to be known for his 100-kilowatt smile and his playful interaction with audiences. Dressed sharply in a custom-made suit, he would walk onstage to the tune of a catchy jingle, posing a question to the audience: “Who wants money?” In one of his signature gimmicks, he fashioned paper planes out of cash and launched them into a cheering crowd.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Algumas Últimas Notas da ‘Voz de Deus’

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      Milton Nascimento, uma divindade musical no Brasil, colabora com a baixista, vocalista e produtora Esperanza Spalding em um álbum que contempla o efeito da idade sobre a arte.Em 1955, Milton Nascimento tinha 13 anos, estava aprendendo a cantar e, para sua tristeza, chegando à puberdade.“Quando eu comecei a ver que a minha voz estava engrossando, eu falei, ‘eu não quero cantar mais, não’”, lembrou Nascimento, uma das figuras musicais mais importantes do Brasil, em entrevista na semana passada. “Porque os homens não têm coração”.Ele disse que chorava quando um canto suave e expressivo entoou na rádio. Era Ray Charles, cantando “Stella by Starlight”. “Depois que eu ouvi isso, eu falei, agora dá para cantar’”.Nas seis décadas seguintes, floresceu uma das grandes vozes da música, uma força etérea que percorria oitavas com emoção e energia, deslizando perfeitamente entre um barítono aveludado e um falsete celestial.A voz singular de Nascimento e sua ascensão às notas mais altas ajudaram a influenciar uma geração de artistas. Em entrevista, Paul Simon descreveu sua voz como uma “mágica sedosa”. Philip Bailey, cantor da Earth, Wind & Fire, comparou-a com “uma bela praia brasileira”. Sting disse que havia “verdade na beleza” dela.No Brasil, onde a voz de Nascimento conduziu desde músicas introspectivas àquelas icônicas, a nação cunhou uma metáfora ainda mais grandiosa: “a voz de Deus”.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Dreamlike Collaboration From Milton Nascimento and Esperanza Spalding

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      Milton Nascimento, a musical deity in Brazil, collaborates with the bassist, vocalist and producer Esperanza Spalding on an album that contemplates age’s effect on art.In 1955, Milton Nascimento was 13, learning to sing and, devastatingly to him, hitting puberty.“When I began to see my voice deepening, I said, ‘I don’t want to sing anymore,’” Nascimento, one of Brazil’s most important musical figures, recalled last week in an interview. “Because men don’t have heart.”He was crying, he said, when a smooth, soulful croon came from the radio. It was Ray Charles singing “Stella by Starlight.” “After I heard that, I said, ‘Now I can sing.’”Over the next six decades blossomed one of music’s great voices, an ethereal force that spanned octaves with emotion and verve, gliding seamlessly between a velvety baritone and a celestial falsetto.Nascimento’s unique sound and ascent to the highest notes helped influence a generation of artists. In an interview, Paul Simon called his voice “silky magic.” Philip Bailey, a singer in Earth, Wind & Fire, compared it to “a beautiful Brazilian beach.” Sting described it as “truth in beauty.”In Brazil, where Nascimento’s voice led singalong anthems and emotional ballads, the nation settled upon an even grander metaphor: “the voice of God.”Nascimento has long been one of the biggest acts in Brazil, while also influencing musicians around the world.Larissa Zaidan for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More