Monitoring by Palver in more than 100,000 public groups of WhatsApp and Telegram shows that it intensified the political clash on social networks.
The work, directed by and starring, was already being criticized since before his debut, but the consecration at the ceremony of March 2 generated an even greater wave of attacks and misinformation between pocket groups.
Production was enthusiastically received by progressive sectors and international criticism, being considered a milestone for the National.
However, since last year, groups on the right have already promoted boycott campaigns to the film, claiming that he would present a distorted version of the story, portraying in a skewed manner and attacking conservative values. The criticism intensified after the Oscar victory, becoming one of the main discussion topics in the monitored groups.
Among the attacks, we highlight the Walter Salles Association to Brother João Moreira Salles, named as the financier of trafficker Marcinho VP-an attempt to create a bond between the director and organized crime, even without any relationship between the facts. Fernanda Torres, in turn, was the target of unfounded criticism for allegedly benefiting from the Rouanet Law, reinforcing the thesis that award -winning artists use public money to promote political ideologies.
The thesis that the film received incentives from was widely shared, although there is no fundraising from it.
The debate on “I’m still here” also served to revive discourses against the artistic class, associated with the left and accused of being sustained by state incentives. Many messages propagated in the Bolsonarist groups describe the film as a “leftist waste” and disqualify the tribute granted by the Senate to Fernanda Torres and Fernanda Montenegro with the Bertha Lutz diploma, for alleged political militancy.
There are also false allegations that the Lula administration allocated R $ 15 billion for the Rouanet Law in 2025, when the expected actual amount is R $ 2.9 billion, from tax waiver, and not direct government transfers.
Another point raised in right-wing groups is the representation of Rubens Paiva, the former deputy who was murdered by the dictatorship. According to viralized messages on the networks, he would have been linked to the Brazilian Communist Party (PCB) and acted in financing and money laundering for the party. However, the information is false, as Paiva was affiliated with the PTB and her political persecution was without any proof of involvement with illegal activities.
The reception of “I’m still here” in the WhatsApp groups monitored by Palver shows that, besides the cinema, the film has become a new chapter in the country’s political polarization.
For left -wing sectors, its award represents a recognition of historical memory and the fight against authoritarian regimes.
Already to the right, it symbolizes another episode of what they call “Marxist cultural domination” and an attack on conservative values. The narrative clash highlights how culture has been one of the main fields of political dispute in contemporary Brazil, where cinema becomes the scene of ideological conflicts intensified by the circulation of misinformation and conspiracy theories in social networks.
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