"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.
