From The New York Times.

A relaxing time at home turns menacing in this scene from the Brazilian drama “I’m Still Here.”

The sequence begins with Rubens Paiva (Selton Mello), a former congressman, playing a game with his wife, Eunice (Fernanda Torres). But they are interrupted by the military police, who have arrived to take Rubens in for what they say is a deposition, one from which Rubens won’t return.

What was lighthearted becomes dark, both emotionally and visually, as the police begin closing curtains in the house. The joy is drained from the room, and uncertainty and fear permeate the moment, all while the adults try to make it appear, for the couple’s children, that everything is normal.

The film, primarily set in Rio de Janeiro in the 1970s, is based on a 2015 memoir by Marcelo Rubens Paiva, the son of Rubens. Narrating this sequence, the director Walter Salles discussed switching the camera from a static position to hand-held at the moment the officers enter the scene. He said, “the camera relays the instability of the situation, pulsing with the characters.”

During the tense sequence, one of the couple’s daughters, Nalu (Barbara Luz), enters the house and goes upstairs to talk to her father as he is getting dressed to leave the home for what Nalu doesn’t know will be the last time. Salles called it “a vital scene,” and said that it was “staged as the real Nalu told me it happened.”

Toward the end of the sequence, we see Eunice in close-up as she stands in the doorway to see Rubens off. Salles said that it is “the first of the only two close-ups in the entire film. We saved it for the last glance between Rubens and Eunice.”

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