The release of the film Emilia Pérez in Mexico has sparked a wave of outrage and criticism, prompting its director, acclaimed French film-maker Jacques Audiard, to issue an apology. The Spanish-language musical, which tells the story of a cartel boss who transitions to a woman, has been lambasted for its handling of both Mexican culture and transgender representation.
Speaking to CNN after the controversial Mexico City premiere, Audiard attempted to defuse the situation by characterizing the film as an “opera” that is not intended to be “realistic”. He expressed regret if certain elements came across as “shocking”, but argued that “cinema doesn’t provide answers, it only asks questions.” However, this explanation has done little to quell the storm of criticism surrounding Emilia Pérez.
Lack of Authenticity and Exploitation
Much of the backlash centers around the film’s perceived lack of Mexican involvement and inauthentic depiction of the country. Despite being set in Mexico, Emilia Pérez was written solely by Audiard and shot in a Paris studio. Prominent Mexican film-makers like Rodrigo Prieto have slammed it as “completely inauthentic” and “troubling”, while critics such as Gaby Meza accuse it of exploiting Mexico’s drug violence to create an entertainment product.
It exploit[s] a current tragedy in Mexico, of drug trafficking and of those who have disappeared due to violence, in order to generate an entertainment product.
– Gaby Meza, Film Critic
Transgender Representation Under Fire
Alongside the questions of cultural appropriation, Emilia Pérez has also come under fire for its portrayal of its transgender lead character. LGBTQ+ advocacy group GLAAD denounced it as “a profoundly retrograde portrayal of a trans woman”. The casting of Spanish actor Karla Sofía Gascón rather than a Mexican performer in the role has further fueled accusations of insensitivity and inauthenticity.
Battle Lines Drawn As Controversy Escalates
As the uproar intensifies, battle lines are being drawn between the film’s critics and defenders. Acclaimed Mexican director Guillermo del Toro has voiced support for Audiard, calling him “one of the most amazing film-makers alive today”. Gascón herself has also hit back, lamenting how detractors are attacking “a film with such a beautiful message and representation”.
With Emilia Pérez in the midst of a successful awards season run, having already won several Golden Globes and earned 10 BAFTA nominations, the controversy shows no signs of abating. As the Oscars approach, with Zoe Saldaña tipped to win Best Supporting Actress and Gascón potentially becoming the first transgender Best Actress nominee, all eyes will be on how this cultural battle plays out and whether it will leave a stain on the film’s legacy.
While Audiard’s pedigree as the Palme d’Or-winning director of films like A Prophet and Dheepan is undeniable, it remains to be seen if his apology and defense will be enough to stem the tide of condemnation Emilia Pérez faces in Mexico and beyond. As the discourse rages on, it is clear this film has ignited an urgent conversation about the responsibilities of representation and who has the right to tell certain stories.
