MEXICO CITY (AP) - Following its premier in Mexico, the acclaimed "narco-musical" Emilia Pérez quickly faced backlash for its portrayal of sensitive subjects, deemed superficial by critics. Directed by Jacques Audiard, the film debuted on Thursday after receiving numerous accolades, including wins at Cannes and the Golden Globes, alongside a historic 13 Oscar nominations, a record for a non-English-language film.
The narrative follows a fictional Mexican drug trafficker, Manitas del Monte (played by Karla Sofia Gascón), who transitions into a transgender woman and activist, seeking justice for Mexico's thousands of disappeared individuals. The plot takes a turn as Manitas grapples with jealousy towards her ex-wife Jessi (Selena Gomez) while forming a new romantic relationship with Epifanía (Adriana Paz).
Despite its star-studded cast and the considerable hype surrounding its premiere, "Emilia Pérez" underperformed at the box office, attracting only 20,000 attendees and grossing approximately US$74,000 (1.5 million pesos). This financial disappointment was accompanied by mounting criticism regarding its depiction of Mexican society, which some argue glamorizes ongoing violence. Onlookers exited theaters with mixed opinions, eager to witness the most-nominated film at the Oscars.
The film's accolades include nominations for Best Picture, Best Actress for Gascón, Best Supporting Actress for Zoe Saldaña, and two nominations for Best Original Song, building on its successes at Cannes and the Golden Globes. However, audience reactions varied significantly. While some viewers, like Dora Pancardo, praised the musical elements, they expressed discomfort with the film's representation of violence and criticized the quality of Selena Gomez's Spanish dialogue.
Criticism has particularly focused on the film's writing, asserting that it fails to authentically represent the Mexican experience. The casting of primarily non-Mexican actors and the film's shooting location in France contributed to concerns over authenticity, creating a discordant blend of Spanish accents. Mexican film critic Gaby Meza described "Emilia Pérez" as "exotic and bold," yet lacking depth in its portrayal of trans experiences, narco culture, and the issue of disappearances.
Given that over 121,000 individuals have gone missing due to Mexico's ongoing drug war, the subject remains deeply personal and traumatic for many families across the nation. Artemisa Belmonte, who has sought justice for her missing family members, initiated a petition on Change.org to halt the film's release, labeling it "extremely offensive" and simplistic. She emphasized the need for a respectful and accurate representation of such sensitive issues.
In response to the backlash, director Audiard acknowledged the criticism and expressed regret if the film was perceived as being handled too lightly. However, some prominent filmmakers, including Guillermo del Toro and Meryl Streep, defended the project, suggesting it draws attention to critical societal issues.
Viewers' motivations to watch the film varied, with some appreciating the international interest in Mexico's struggles with violence and organized crime. Others, such as Héctor Ayala, felt that the film could prompt reflection and action on these issues. The mixed reception highlights the challenges of addressing complex social realities through film, particularly when sensationalism can overshadow authentic narratives.
Transgender rights advocate Láurel Miranda raised concerns over stereotypical portrayals of trans women in the film, suggesting that it fails to authentically reflect the harsh realities faced by transgender individuals in Mexico. The representation of the film's protagonist, Emilia Pérez, as a powerful figure starkly contrasts with the grim statistics surrounding violence against marginalized groups in the country.
In conclusion, "Emilia Pérez" stands at the intersection of critical acclaim and controversy, provoking discussions about representation, authenticity, and the complexities of addressing pressing societal issues in art.
