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Khaleej Times
3 days ago
- Business
- Khaleej Times
Oscar-winning Brazilian film 'I'm Still Here' makes UAE debut
A cinematic milestone unfolded in the UAE this weekend as Ainda Estou Aqui (I'm Still Here), Brazil's first-ever Oscar-winning film, premiered at Dubai's Cinema Akil — becoming the first Brazilian feature to screen in the country. The exclusive event marked a major cultural crossover and was led by actress Sabrina Petraglia, a Dubai resident who has made it her mission to bring Brazilian cinema to the Middle East. The screening of Ainda Estou Aqui, which won Best International Feature Film at the 2025 Academy Awards, drew a full house of over 130 attendees. The audience included UAE and Brazilian dignitaries, diplomats, filmmakers, artists, and prominent members of the expat Brazilian community — all gathered to witness history at Alserkal Avenue's indie cinema. Grammy Award-winning actress Fernanda Torres, who starred in the film and made headlines this year as the first Brazilian to win a Golden Globe, addressed the Dubai audience in a heartfelt video message before the screening. 'I'm Still Here is the first Brazilian movie to be released in the Emirates, which makes us really proud,' Torres said. 'It's a very special film, directed by the wonderful Walter Salles.' The premiere wasn't just about watching a film — it was a celebration of storytelling across borders. The evening was the culmination of a months-long initiative spearheaded by Sabrina Petraglia, known for her work in Brazilian TV and film. Since relocating to Dubai in 2023, Petraglia has been building cultural bridges between Brazil and the UAE — a vision she brought to life again with this landmark screening. 'This moment is the culmination of five months of work behind the scenes,' Petraglia told the audience in an emotional speech before the film began. 'It gives me so much joy to see the Brazilian community come together alongside our Emirati friends to share this moment and prove the universal power of storytelling.' Petraglia previously screened her own short film, Mar de Mães (Ocean of Mothers), in the UAE earlier this year. It was during that experience she discovered that no Brazilian films had been officially shown in the Emirates before. 'When I learnt Ocean de Mães was the first to even be shown here, I couldn't believe it,' she said. 'UAE is a country that values and supports the arts, so I asked myself, 'Where are the Brazilian movies?' That's when I started connecting with people — with Sony, with Empire, and friends who acted in the movie.' The event also served as a cultural diplomacy milestone, with a post-screening reception attended by officials from the Embassy of Brazil in the UAE, Visit Dubai, members of the Al Serkal family, and other partners. Ambassador Sidney Leon Romeiro praised Petraglia for her dedication in championing Brazil's creative voice in the region. 'Sabrina is one of the key promoters of Brazil's cultural scene here,' he said. 'Each step of this project, she has been calling me, updating me… I always feel her enthusiasm and am deeply grateful for her help in this effort to strengthen Brazil's cultural agenda in the UAE.' Made possible with the support of Ambipar, a Brazilian company known for its commitment to sustainability and the arts, the screening is expected to be a springboard for greater cultural and cinematic collaborations between Latin America and the Arab world. Ainda Estou Aqui will continue screening at Cinema Akil throughout June, inviting UAE residents of all backgrounds to experience the power, emotion, and resonance of Brazilian storytelling — a first, but certainly not the last.
New York Times
23-05-2025
- Entertainment
- New York Times
The Best Movies of 2025, So Far
'Mission: Impossible — The Final Reckoning' and the live-action 'Lilo & Stitch' are flooding theaters this Memorial Day weekend. But if you don't want to follow the crowd, it's also a good time to catch up on some terrific films you may have missed earlier in the year. I asked our chief film critic, Manohla Dargis, and our movie critic, Alissa Wilkinson, to recommend releases worth your time. All are in theaters or available online. 'Sinners' The story: The twins Smoke and Stack (both played by Michael B. Jordan) return from Al Capone's Chicago to open a juke joint in Clarksdale, Miss. That's when the devil, or rather, an Irish vampire, shows up in this talker of a film. Manohla Dargis's take: Directed by Ryan Coogler, this 'is a big-screen exultation — a passionate, effusive praise song about life and love, including the love of movies. Set in Jim Crow Mississippi, it is a genre-defying, mind-bending fantasia overflowing with great performances, dancing vampires and a lot of ideas about love and history.' Read the review; interviews with Coogler and Jordan, and other cast members; and a critic's essay. 'I'm Still Here' The story: Set in Brazil beginning in 1970, when a military dictatorship ruled the country, this drama follows the efforts of Eunice Paiva (Fernanda Torres) to keep her family together and still work as an activist after her congressman husband, Rubens Paiva, is arrested and disappeared by the authorities. Based on a true story, the film, directed by Walter Salles, won the Oscar for best international feature. Alissa Wilkinson's take: 'In her performance — which won a Golden Globe and [earned] an Oscar nomination — Torres stuns. Protecting her children means leaning into joy within the fear, hope in the midst of pain. Torres double-layers her performance with all of those emotions, and her searching eyes are magnetic.' Read the review and an interview with Torres. 'Black Bag' The story: Cate Blanchett and Michael Fassbender play married British intelligence agents who are each tasked with ferreting out a mole, who may possibly be their spouse in this Steven Soderbergh thriller. Dargis's take: The film is 'sleek, witty and lean to the bone, a fizzy, engaging puzzler about beautiful spies doing the sort of extraordinary things that the rest of us only read about in novels and — if we're lucky — watch onscreen. It's nonsense, but the kind of glorious grown-up nonsense that critics like to say they (as in Hollywood) no longer make.' Read the review. 'Friendship' The story: Tim Robinson plays Craig, a nice-enough guy with a wife and a house in the suburbs but no friends, until the cool new neighbor (Paul Rudd) moves in. Since this is a cringe comedy, all will not go well. Wilkinson's take: The film is 'is often funny and always distressing. … Robinson's performance, which sometimes feels dropped in from a parallel dimension that's about 3 percent different from our own, injects Craig with a quality most similar to an erratically ticking time bomb.' Read the review. 'Wallace & Gromit: Vengeance Most Fowl' The story: In the latest stop-motion adventure of the inventor Wallace and his trusty beagle, Gromit, the two must contend with the evil mute penguin Feathers McGraw and a garden-gnome robot gone awry. Dargis's take: The movie is 'a diverting low-key thriller with Bond-like flourishes.' It moves with 'smooth efficiency from its amusing, shadowy start to gently slapstick finish, propelled by its characters and [co-director and co-writer Nick] Park's customary sweet-and-silly humor. Read the review. 'Eephus' The story: In small-town Douglas, Mass., two recreational baseball teams gather to play one last game on a field that's going to be razed to make way for a school. Wilkinson's take: The movie 'exists outside sports movie tropes altogether, though it's most certainly a baseball movie. It dwells in some languid liminal space between hangout movie and elegy, a tribute to the community institutions that hold us together.' Read the review. 'The Annihilation of Fish' The story: In this gentle comedy, a Jamaican immigrant who goes by the name Fish (James Earl Jones) has been battling an invisible demon when he heads to Los Angeles. There he meets a woman (Lynn Redgrave) with her own invisible companion. The film, by Charles Burnett, wasn't released for 26 years. Dargis's take: Calling it a 'deeply humane, singular view from the margins,' she wrote, 'Jones, who holds the movie throughout, imbues Fish with delicate charisma that becomes more pronounced as the story unfolds and emotions deepen.' Read the review and an interview with the director. 'Caught by the Tides' The story: Mixing footage shot for previous movies with new scenes, the Chinese filmmaker Jia Zhangke follows Qiaoqiao and her lover, Bin, a low-level criminal, over 20 years. Dargis's take: The film is 'a tour de force that is at once an affecting portrait of a people in flux and a soulful, generous-hearted autobiographic testament from one of our greatest living filmmakers.' Read the review. 'Presence' The story: The second Steven Soderbergh film on this list is a ghost story set in the seemingly normal suburban home of a family that includes a star-athlete son and a daughter who's clearly been traumatized. Dargis's take: The girl's 'past, her parents' marriage and the ghost's restricted point of view together create palpable unease that the filmmakers build on until everyone is vibrating with tension and things have gotten weird. Although there are a few haunted-house shocks, the cumulative effect is more unsettling than scary.' Read the review. 'The Last Showgirl' The story: When the long-running Vegas show she is in closes, an aging dancer (played by Pamela Anderson) struggles to find work and to connect with her grown daughter even as she finds community with friends (including one played by Jamie Lee Curtis). Dargis's take: Directed by Gia Coppola, the drama 'tells a familiar story of bad luck and outwardly questionable choices with gentleness, a great deal of love for its characters and an obvious appreciation for the affirming highs and bitter lows that age and beauty afford. Modestly scaled and loosely plotted, it is an unusually tender movie.' Read the review.
Yahoo
14-05-2025
- Entertainment
- Yahoo
Brazilian Comeback: How The Cannes 2025 Country Of Honor Is Following The Success Of ‘I'm Still Here'
The scenes of celebration across Brazil in Carnival season when Walter Salles' I'm Still Here won the Best International Feature Film Oscar in March were akin to the country winning the World Cup. The excitement followed a post-pandemic record-breaking $35.6 million box office in Brazil for the drama starring Fernanda Torres as real-life figure Eunice Paiva, whose husband Rubens Paiva disappeared from their home in the early years of Brazil's 1964-85 military dictatorship. More from Deadline Scarlett Johansson On Why The Script For Her Directorial Debut 'Eleanor The Great' Made Her Cry: 'It's About Forgiveness' – Cannes Cover Story Neon's Palme D'Or Whisperer Tom Quinn Reveals Keys To Cannes And Oscar Success: 'I'm Happy To Share A Playbook' As Tom Cruise Brings 'Mission: Impossible - The Final Reckoning' To Cannes, All Five Franchise Directors Look Back At The Wild Ride 'That explosion of joy in the middle of the Carnival, which is the peak of our popular culture and the best of Brazil, the best of our collective capacity to actually say who we are, was extraordinary,' says Salles. The victory came hot on the heels of the Berlinale Grand Jury Prize win for Brazilian filmmaker and visual artist Gabriel Mascaro's The Blue Trail, a dystopian drama about a 77-year-old retiree's life-changing journey through the Amazon rainforest. Three months later, Brazil is out in force at the Cannes Film Festival with the selection of Kleber Mendonça Filho's political thriller The Secret Agent starring Mauro Wagner in the main competition. It is also the Country of Honor at the Cannes Marché du Film, with a delegation of film professionals expected on the Croisette, led by Minister of Culture Margareth Menezes, who also happens to be the queen of Brazilian Afropop. Elsewhere on the Croisette, Marianna Brennand, whose female-driven drama Manas earned the Director's Award in Venice's parallel section Giornate degli Autori in 2024, is being feted with the Women in Motion Emerging Talent Award. 'It's not just a coincidence, it's an astral connection,' jokes André Sturm, founder and president of promotional body Cinema Do Brasil, on the market honor. 'We were first offered the honor by the market two years ago… We didn't know about the Walter Salles movie. We couldn't have imagined the success,' he explains. The acceptance of the offer was spurred rather by left-wing Brazilian President Luiz Inácio Lula da Silva's promise on his arrival in power in October 2022 to bolster the cultural sector. Aside from his ideological belief in the importance of culture, Lula also wants to make it a key part of the economy and job creation, particularly for younger generations. 'Audiovisual production is the strength of our cultural sector,' Menezes says. 'Despite political persecution and a lack of robust investment, the technical quality and talent of the sector's artistic community are undeniable.' Under this drive, $295 million has been earmarked for the film and TV sector to date. Lula's investment plans are astute. According to the national cinema agency Ancine, the audiovisual sector added $5 billion to GDP in 2023, and this figure is set to rise. The drive also makes Brazil an outlier in Latin America, where many other territories are slashing cultural budgets and censorship is on the rise. The most acute example is Argentina, where the far-right President Javier Milei has decimated the film sector. Brazil's cinema industry is recovering from its own brush with populism and authoritarianism under the 2019-2022 rule of far-right President Jair Bolsonaro. During his time in power, which coincided with the pandemic, Bolsonaro disbanded the Ministry of Culture, cut cinema funding, and censored publicly funded projects. Menezes describes the federal government's $295 million investment as a 'rescue operation for the sector' following years of Bolsonaro's cuts. 'When we arrived, we found a wasteland of investments, a true chaos that was not easy to build,' the Minister says. Producer Tatiana Leite moved to France during Covid, 'exactly because of the lack of everything during the Bolsonaro government.' 'I could not work,' says the producer. She is now co-producing the latest feature from Portuguese auteur Miguel Gomes (Grand Tour), which will be a big-budget historical drama set to shoot next year in Brazil, and developing projects from newcomers Pedro Pinho (The Nothing Factory) and Pedro Freire (Malu). Cinema do Brasil also lost most of its funding for four years but stayed afloat by piecing together financing from a variety of other sources. 'People understood the importance of what we do… after the pandemic, our booths at Cannes and Berlin looked like a Formula 1 driver's jersey. We had many different small supporters who helped us continue our work,' says Sturm. Veteran producer Rodrigo Teixeira suggests the Bolsonaro years were a blip in an otherwise upward trajectory for Brazilian cinema going back 25 years. 'It all really started when Central Station opened the Berlin Film Festival. From then until today, there have been a lot of great filmmakers, investment by the state, tax incentives, international partnerships, and people winning prizes outside of Brazil,' he says, who has half a dozen projects on the boil including Gabe Klinger's Isabel. 2019 was a bumper year for Brazilian cinema. Juliano Dornelles and Kleber Mendonça Filho's Bacurau won the Cannes Jury Prize, while Karim Aïnouz's The Invisible Life of Eurídice Gusmão clinched the Un Certain Regard award. At Venice, two Brazilian directors, Bárbara Paz and Ricardo Laganaro, won awards, and in San Sebastián, the Brazil-set drama Pacified, backed by Darren Aronofsky, won the top film prize. 'Bolsonaro in power combined with the pandemic killed the industry for two or three years, but we are lucky enough to have great projects, filmmakers, producers, crews, writers and stories, and we've started working again,' says Teixeira. It is too soon to assess whether Lula's audiovisual investments are bearing fruit. So far, the government has prioritized broad investments, like pushing cash into regions of the country that do not have a tradition of filmmaking. Only a portion is being used directly to fund or support projects that will ultimately land in the marketplace. 'It's a matter of public policy. But an important part of this money will arrive in the industry, so there is excitement,' Sturm says. There is currently an open call in the country for producers and filmmakers to submit projects for public funding, which has ignited a frenzy in the local industry. 'The last call attracted something like 1,200 applications for a national grant that will pick only a few projects, so it's very competitive,' Leite says. 'But at least we have this. Under Bolsonaro, we didn't have anything.' São Paulo and Rio de Janeiro remain Brazil's central hubs for film production. Salles' I'm Still Here was shot entirely in the latter, which Leonardo Edde, president of RioFilme, says reinforces the city's reputation as the 'birthplace of Brazilian cinema.' 'In 2024 alone, we registered nearly 9,000 shooting days, making us the most filmed city in Latin America,' Edde says. Lula has also spearheaded a decentralized approach to local production, opening autonomous film offices with their own funds in each of the country's 27 states. The Secret Agent, for example, is shot in the director's home city of Recife, capital of the northeastern state of Pernambuco, which is also home to a growing cinema scene. 'That is huge in a country with many realities like Brazil,' Liete says. Still, funding projects and supporting local infrastructure is only part of the equation. When these films are made, where will they find their audience? Leite argues that this is where the picture becomes less clear, suggesting that bottlenecks in the distribution chain are also holding local cinema up. 'One of the biggest fragilities of our cinema is that we don't have many independent distribution companies. We don't have any incentives for distribution companies either. They have to fight hard to still exist,' Leite says. 'For our population, we also don't have enough movie theaters.' As of last year, Ancine listed 3,510 operational cinema screens in Brazil. The country has a population of around 211 million. In comparison, the UK, with a population of around 68 million, has 4,587 screens. In the backdrop, there are also questions around the impact on independent producers and the box office of the global streamers, with two bills currently passing through the legislature that would increase tax contributions and introduce quotas on national productions. Menezes says streaming regulation is an imperative that her office is broaching with great care to protect workers' rights and the health of the local production environment. 'It is good for those who produce, for those who finance, and for those who consume. We don't want to tax anything; we want what is fair,' she says. In the meantime, local streamer Globoplay recently embraced a theatrical strategy for its first two feature originals, I'm Still Here and Andrucha Waddington and Breno Silveira's Vitória, giving them long cinema windows. Tatiana Costa, director of content for digital products at Globo, says the strategy was coordinated with all the parties on the film with the group promoting the theatrical release across all its platforms. 'We don't want to cannibalize the cinema and vice-versa,' she says. Commenting on the government's film and TV drive, Globoplay Originals head of drama Alex Medeiros says it goes beyond direct subsidies, noting how a raising of the cap on state money that can be spent on an individual production had also been a game changer. Teixeira also believes the global spotlight placed on Brazilian cinema by I'm Still Here will encourage more international investment. He is also predicting an uptick in non-Brazilian directors coming to the country to shoot, especially out of the U.S., in the current political climate. 'I was talking to an American filmmaker who told me it's impossible for independent filmmakers to do films in the U.S. right now, because the costs are too high, and the streamers are aligned with Donald Trump… There could be options for those filmmakers here in Brazil,' he suggests. Brazil does not currently offer a nationwide incentive, but there are a number of state- and city-based rebate schemes, notably those run by SPcine in São Paulo and RioFilme in Rio de Janeiro. In the backdrop to this positive wave, the spectre of Bolsonaro as well as that of the military junta captured in I'm Still Here remains in the air. While Bolsonaro failed to kill off Brazilian cinema, the former stopped the country's Cinema Nova in its tracks, leaving a void that would not be filled again until the 1990s and early '00s with films like Central Station and City of God. 'Continuity is at the core of what will ensue, but we're certainly living in a moment of vitality,' says Salles. Edde describes the current moment as 'a new era for the Brazilian audiovisual sector.' 'And more than just celebrating this moment,' he says. 'We are ready to turn it into concrete business opportunities and social and economic development.' 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Yahoo
14-03-2025
- Entertainment
- Yahoo
New movies streaming this weekend: Oscar winner 'I'm Still Here' now available at home; Samara Weaving and Ray Nicholson's 'Borderline' hits digital
This week, several movies we highlighted when they debuted on-demand are now available on streaming services you might already be paying for. Better Man is now on Paramount+, Moana 2 has finally sailed its way to Disney+, and Kraven the Hunter hits Netflix, now sitting comfortably alongside its fallen comrade Madame Web. But that's not all — there are still plenty of movies newly available this weekend too. The surprise Oscar Best Picture contender from Brazil, I'm Still Here, which won Best International Feature Film and earned Fernanda Torres a Best Actress nomination, is out now, as is a Dave Bautista action movie you probably haven't heard of called The Killer's Game, which just hit Starz. There's also a brand-new horror-comedy debuting simultaneously in theaters and on-demand starring scream queen Samara Weaving and nepo baby Ray Nicholson — Jack Nicholson's son, who also appears in Novocaine, out in theaters this weekend — called Borderline. A24's Parthenope, the latest art house film from Italian director Paolo Sorrentino, who helmed The Great Beauty, which won Best International Feature Film at the 2014 Academy Awards, makes its way to streaming and on-demand. Daaaaaali!, a comedic surrealist not-quite-biopic about artist Salvador Dalí, the latest from the French absurdist filmmaker Quentin Dupieux, is now streaming on Mubi, which offers a free seven-day trial. Here's what to know about the movies newly available to stream as of this week and where you can find them. Click on the links below to jump straight to a specific movie: I'm Still Here The Killer's Game Daaaaaali! Borderline Parthenope I'm Still Here is a powerful film that explores the true story of an ordinary family living under fascism in 1970s Brazil. As the country faces the tightening grip of a military dictatorship, Eunice Paiva, a mother of five, must reinvent herself and her family when authorities abduct her husband. The first half of the movie is a joyous portrayal of the ordinary lives of this tight-knit family, with a fly-on-the-wall approach that allows you to really luxuriate and spend time with these characters. The second half is a devastating look at what happens when that family unit is broken apart for political reasons. It's a story of resilience and trying to move forward in the face of inescapable adversity. Fernanda Torres is absolutely sensational in the lead role, navigating being a mother, a wife — and just a person — amid harrowing personal tragedy and finding joy despite it. It may not sound like the most fun watch, but it's incredibly moving and even uplifting despite the tough subject matter. How to watch:I'm Still Hereis now available to rent or purchase on Prime Video and other video-on-demand platforms. Rent or buy on Apple TV For every big-budget movie Dave Bautista is in, it seems he does another smaller-scale one that goes out with zero awareness, sometimes straight to DVD. The Killer's Game follows movies like Bushwick (2017) and Final Score (2018) in this grand tradition, though it did get a small theatrical release, so maybe Hotel Artemis (2018) is a better comparison. When top hit man Joe Flood (Bautista) is diagnosed with a terminal illness, he decides to take matters into his own hands — by taking a hit out on himself. But when the very hit men he hired also target his ex-girlfriend, he must fend off an army of assassin colleagues and win back the love of his life before it's too late. The movie is at its best when it's aping John Wick and less exciting when its tone shifts to something more like Bullet Train. Bautista is a great character actor and continues to bring gravitas to roles that otherwise could have been flat, and he's supported here by tons of actors you'll recognize, including his Guardians of the Galaxy co-star Pom Klementieff, Ben Kingsley, Terry Crews and Sofia Boutella. If you're into action flicks, it's a good enough time. How to watch: The Killer's Gameisnow streaming on Starz. Stream on Starz If you're unfamiliar with the work of prolific French filmmaker Quentin Dupieux, the second most famous director named Quentin currently making movies, Daaaaaali! is an excellent starting point. Dupieux is himself a surrealist/absurdist, and all of his films fit squarely under those labels, so a 'biopic' about surrealist painter Salvador Dalí was a natural choice, and it's one of his best. It's an incredibly self-aware meta-joke of a movie, full of hilarious bits and dreams within dreams that would play better if they weren't spoiled. The logline is simply 'A young French journalist repeatedly meets iconic surrealist artist Dalí for a documentary project that never came to be.' Cinema is unlikely to ever see a better pairing of filmmaker and subject. How to watch: Daaaaaali!isnow streaming on Mubi, which offers a free seven-day trial. Stream on Mubi Borderline is a brand-new horror-comedy that's actually debuting in theaters March 14, the same day it's available on digital. It features the best performances yet from two budding genre staples, Samara Weaving of Ready or Not fame and Ray Nicholson, who appeared briefly in Smile 2 but was a mainstay on the poster, likely due to the fact that he's Jack Nicholson's son. Also, his face looks a lot like his father's, so when Ray does a scary face, it's quite menacing! Nicholson flexes that muscle a bit here in the role of a psychopath stalker who does a horror movie-style home invasion on a pop star, played by Weaving. The movie has some trouble shifting gears from shocking horror to laugh-out-loud comedy, but those tonal issues don't take away from the fact that it's a fun-enough star vehicle for two young performers who have yet to stretch their legs like this before. There's a commitment to the bit here that's commendable and several noteworthy needle drops, including an incredible and unlikely duet of a Celine Dion banger. Those moments, as well as the pure movie star quality exuded by its stars and its overall commitment to the bit, won me over despite some issues with tone and flippancy with regard to Nicholson's character's mental condition. How to watch:Borderlineis now available to purchase on Apple TV and now playing in theaters Buy on Apple TV Parthenope is damn near impossible to effectively describe, but those familiar with the work of Italian filmmaker Paolo Sorrentino can at least get a sense of how it'll look: absolutely gorgeous with well-composed visuals of Italian seascapes, architecture and the human body. Sorrentino's movies are usually about men and very male desires. This one inverts the formula, centering on a woman, Parthenope, and the effect she has on those around her, men and women alike. It almost plays like a parody of his sensibilities — the way he depicts the admittedly stunning Parthenope (Celeste Dalla Porta), marveling and gawking at her figure but stressing that she's smart too, with a subplot about her studying anthropology. There's no real plot. We simply watch Parthenope go through life and are meant to ascribe meaning from her interactions with others. Good luck! Even if you don't get much out of the movie, there's no denying it's nice to look at, with some of the most striking photography of the year. How to watch:Parthenopeis now available to rent or purchase on Prime Video and other video-on-demand platforms. Rent or buy on Amazon Bonus picks: Better Man on Paramount+, Moana 2 on Disney+ and Kraven the Hunter on Netflix.
Associated Press
06-03-2025
- Entertainment
- Associated Press
Brazil's Carnival muse this year isn't one of the divas or drum queens parading with the Rio de Janeiro samba schools but rather Fernanda Torres, who is competing for the Best Actress Oscar on Sunday. (AP video by Thiago Mostazo, Maycron Abade and Diarlei Rodrigues.)
Video Oscar fever for Brazil's Fernanda Torres has made her this year's Carnival muse Brazil's Carnival muse this year isn't one of the divas or drum queens parading with the Rio de Janeiro samba schools but rather Fernanda Torres, who is competing for the Best Actress Oscar on Sunday. (AP video by Thiago Mostazo, Maycron Abade and Diarlei Rodrigues.)
