Emilia Pérez tells the story of a drug dealer who undergoes a gender transition and attempts to atone for their past. The film, directed by award-winning French director Jacques Audiard, has garnered attention for its artistry and its unique premise, however, it has also sparked significant controversy.
One of the controversial aspects is the film’s apparent lack of elementary research on a sensitive and incredibly complex topic like drug dealers in Mexico and Latin America. On this, the film is superficial at best. In a country where, in the past six years, a person went missing every hour, and the reported sum of murdered people is just shy of 200,000 people, the film’s treatment of this issue is an insult. A movie where a drug dealer finds redemption through transition trivializes the devastating impact of drug-related violence, disappearances, and kidnappings.
By focusing on individual transformation, the film overlooks the systemic issues that perpetuate these problems, potentially diminishing the experiences of victims and their families.
While Emilia Pérez could have been a powerful exploration of identity and redemption, its treatment of real-world issues and cultural representation falls short.
In my opinion, the director’s use of a country’s horrific reality to make the film more buzz-worthy and substantive for the masses is pathetic. I don’t mean that films should look away and avoid this devastating issue, far from it! I believe that the drug situation in Mexico could benefit from an honest and researched exposure in films that make people aware of the problem and also how beautiful, generous, and hopeful our people and country are.
Another controversial aspect is the film’s depiction of Mexico as a dangerous and impoverished place against a backdrop of traditional Mexican music and imagery. Many people, including me, have felt this as exploitative and lacking in cultural sensitivity.
There’s also the issue of the film’s Spanish fluency. The film’s Spanish dialogue has been criticized, with many noting the unnatural and awkward phrasing. At some points, the dialog felt as if it were created by an unsupervised AI translator. I cringed throughout the whole movie.
The casting of non-Mexican actors in lead roles has further fueled accusations of cultural appropriation. Audiard’s recent comment that “Spanish is a language of modest countries, of developing countries, of the poor and migrants” has drawn criticism and added another layer to the discussion surrounding the film. This statement is particularly relevant given the film’s Karla Sofía Gascón is Spanish. Gascón herself has faced past controversies regarding alleged racist comments about migrants. Gascon was even excluded from the events leading up to the Academy Awards due to several heavily criticized and discriminatory tweets. You have to see the irony here!
Alejandra Musi of El Universal wrote that “the most painful thing is to see how a director, who assumes the role of authority as well as absolute trust, betrays his protagonist. Audiard’s recent public statements are inelegant, but most importantly, disloyal.”
The silver lining of this mess has to be Johanne Sacreblu, a crowdfunded short film that is a satirical parody of Emilia Pérez. Directed by transgender influencer Camila Aurora, the film stars Johanne Sacreblu, a trans woman who returns to her hometown in France after spending some time in Mexico. The comedy employs elements stereotypically associated with French culture, such as mimes, croissants, baguettes, and rats, to satirize the simplistic way in which director Jacques Audiard portrayed Mexican culture in Emilia Pérez. Way to go, Camila!
While Emilia Pérez could have been a powerful exploration of identity and redemption, its treatment of real-world issues and cultural representation falls short. By not fully acknowledging the complexities of its subject matter, the film missed an opportunity to engage in meaningful dialogue about the very issues it touched upon. In the end, the film felt like a Taco Bell Dorito Locos Taco trying to pass as authentic Mexican food.
Pixar’s Coco serves as a prime example of a well-researched and thoughtfully crafted film. Centered on Día de los Muertos, the vibrant Mexican holiday honoring the deceased, the movie was exceptionally well-received in Mexico. Its extensive research into Mexican culture, particularly the Day of the Dead, resonated deeply with audiences. The film’s genuine and respectful portrayal of family values, traditions, and the importance of remembering ancestors struck a chord with viewers, offering a positive and refreshing depiction of Mexico, a welcome departure from typical negative stereotypes.
As for Emilia Pérez‘s 13 Oscar nominations, I’ll be tuning into the 97th Academy Awards to see what happens. I’m hoping that the “experts” can look past the artistry and acknowledge the film’s problems with a lack of golden statuettes. The film industry can do better than this!
Ricardo Saca is the US and Mexico Managing Partner for Cato Brand Partners, a Global Design and Branding Consultancy. He is a Master in Branding from the School of Visual Arts in New York City and has 20+ years of experience working with a wide range of companies, from startups to airlines. He is an animal lover and a plant-based cyclist.
Header image by Wesley Tingey for Unsplash+ (reversed).
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