Chances are that in the last couple of weeks you’ve heard of Emilia Pérez, the crime musical which has received 13 Oscar nominations -- despite being one of the most controversial film of the year.
The question for many is simple– how is a film so widely hated by viewers racking up so many nominations? How is a film that’s supposed to represent the Mexican and transgender communities so horrendous in its execution that it’s managed to disrespect both groups of people?
These questions have given way for questions on diversity, the entertainment industry, and the prestige of awards like the Oscars– and if their nominations rely more on politics than art.
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Emilia Pérez tells the story of Rita Mora Castro, a struggling attorney who takes on a challenge when she’s called upon by a cartel leader. Her client expresses a desire to undergo gender-affirming surgery and start a more authentic life as Emiliar Pérez. Pérez expresses remorse for her violent past and creates a non-profit dedicated to finding the bodies of cartel victims after faking her own death.
Emilia’s wife Jessi doesn’t recognise her after the operation, but her children recognise her. She begins a relationship with Epifanía, a woman who’s husbands remains were found by the group, and in the meantime Jessi rekindles her relationship with a past lover named Gustavo. Emilia is kidnapped by Gustavo and held in the trunk of their car while Jessi and Gustavo fight. In the end the trio is dead, Rita has to tell the children what happened and Epifanía takes to the streets to tearfully sing about Emilia’s commitment to justice and truth.
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Controversy
Director Jacques Audiard
The film’s execution of this plot is bizarre. First off, its a musical which fits bizarrely with serious scenes which could go without music. One song titled "La Vaginoplasty" has gone viral for its bizarre lyrics and pacing. Given the serious nature of the film's topic, the decision to include interludes for music feels off.
Next, the plot is lacking. Pérez goes from a cutthroat cartel leader to suddenly reflecting on her path, feeling remorse for her past violence and starting a non-profit to find the bodies of cartel victims. But why?
The film tries to explain this change by depicting her past violence as being caused by toxic masculinity, and her gender change as making her into a new, authentic person. This concept isn't just unrealistic, it's offensive. People who transition don't suddenly get new personalities, nor are they exempt from their past mistakes. This plot point has been heavily criticised by the trans community who feels that this portrayal is ignorant.
The depiction of Mexico in the film is also one of it’s most egregious points, depicting the country as nothing more than a smog-ridden, crime-filled country that has little charm. The film was supposed to (emphasis on supposed) tackle violence in Mexico– missing people, murders, etc.-- but instead of raising awareness in a meaningful way it’s a musical that dramatizes real issues. As such, the film has been panned by Mexican critics and viewers who find the portrayal to be offensive and holding little basis in reality.
When director Jacques Audiard was asked about what research he did to learn about Mexico he stated “I didn’t study much [....] What I had to understand, I knew.”
It’s important to note that Audiard is French and didn’t collaborate with any Mexican writers to create the film. In short, Emilia Pérez is a movie about a Mexican trans woman which was written and directed by a French man who decided he didn’t need to research the communities he was portraying.
The film also has only one Mexican actor who plays a minor role (Adriana Paz as Epifanía) . The main cast speaks Spanish in many dialects which is unrealistic for a story set in Mexico. Lead actress Karla Sofía Gascón is from Spain, while Zoe Saldaña and Selena Gomez were both born in America. Carla Hool, the casting director stated that while they auditioned many Mexican actors, they couldn’t find any that were suitable for the movie.
So why make a movie about Mexico without working with and honoring Mexican writers and actors/actresses? Why make a movie about a trans woman without consulting trans writers? The answer is to appear progressive– not to open up genuine, productive dialogue, but to win awards under the guise of diversity. The movie is so abhorrent in its portrayal that it almost feels like a bit of propaganda made to mock diversity, and the narratives it pushes are both transgressive and ignorant.
Conclusion
The film and it’s success in Hollywood is a testament to how out of touch the entertainment industry currently is. It’s a movie which tries to depict a trans woman and tries to depict Mexico but manages to do it in a way so offensive that it could almost pass as propaganda. The soundtrack of this ‘musical’ is so poor that to an unaware listener they might think it’s a new SNL skit. It’s a movie made by and celebrated by people who don't care about the implications of the film's rhetoric.
When telling stories about cultures that one isn’t familiar with, it’s crucial to work with members of that community and do extensive research to make sure that the story is told with the utmost respect. If Audiard had just worked with Mexican and trans writers while doing his own additional research, much of Emilia Pérez's faults could've been avoided. But clearly the intention wasn't to create an authentic film, it was to rack up awards from critics who feel progressive in their praise of the movie.
How Emilia Pérez with its lack of respect, convoluted plot and stale soundtrack has been lauded in Hollywood– with 4 Golden Globe wins and more Oscar nominations than The Godfather– is proof of Hollywood’s decision to focus more on the illusion of inclusion than to celebrate actual art and meaningful movies. Come Oscars night on March 2, we’ll see if Hollywood will continue to praise this borderline unwatchable film.
