During awards season, a successful movie is typically characterized by its stars making appearances at various events, giving interviews, and sharing positive remarks about the film and their colleagues. Conversely, when a lead actor starts canceling appearances and issues apologies, it’s a sign that things are not going well. This is the situation facing Emilia Pérez and its lead actress, Karla Sofía Gascón. The movie initially received 13 Oscar nominations, but now it seems to be facing challenges, particularly due to Gascón’s actions.
Gascón, who made history as the first transgender performer to win joint best actress at Cannes, had previously spoken about facing online hate and dedicated her award to all trans people. However, recent revelations about her offensive online comments have caused controversy. Despite her earlier message of hope, Gascón’s past posts included derogatory remarks about various groups and events, including Muslims, George Floyd, and the Oscars.
The upcoming Academy Awards are expected to highlight independent and protest films, reflecting the current political climate. Emilia Pérez, a Netflix musical starring Gascón as a Mexican gangster, should have been a focal point for the resistance against the Trump administration’s actions towards transgender rights. However, Gascón’s online behavior has raised concerns about the movie’s impact and reception.
In response to the backlash, Gascón has denied being racist and suggested that her words were taken out of context. The movie itself has faced criticism for its implausible plot and low audience ratings, despite its unique elements. Director Jacques Audiard, known for his acclaimed films, took a different approach with Emilia Pérez, creating a musical centered around trans identity but facing backlash for its portrayal of Mexican culture.
Mexican audiences and critics have expressed mixed reactions to Emilia Pérez, particularly regarding the cast’s accents and the overall depiction of their country. The controversy surrounding Gascón and the movie’s reception have overshadowed its initial success, leaving many questioning its place among other Oscar contenders.
Mexican actor Eugenio Derbez expressed his awe of watching Gomez, saying, “Every time she had a scene, we looked at each other to say, ‘Wow, what is this?’” Gomez responded on TikTok, acknowledging, “I’m sorry, I did the best I could with the time I was given.” This exchange may not be remembered as a standout quote during awards season.
Critics from Mexico have taken offense to the way Emilia Pérez portrays their country as a place of death, drug cartels, and criminals, using the real-life tragedy of missing persons as a backdrop for entertainment. Screenwriter Héctor Guillén went as far as to declare, “Mexico hates Emilia Pérez” and labeled the film as a “racist Eurocentrist mockery.”
In response, Mexican filmmaker Camila Aurora created a parody film titled Johanne Sacreblu, poking fun at the stereotypes of “French” people, filmed in Mexico but portrayed as Paris. Despite initial nonchalance from Audiard about the criticism, he later apologized if his approach seemed insensitive.
The film has also faced backlash from LGBTQ+ viewers for its portrayal of trans individuals, with damaging stereotypes evident in the character’s actions and dialogue. Critics have labeled the film as “profoundly retrograde” in its depiction of a trans woman.
Further controversy arose when it was revealed that AI was used to enhance Gascón’s singing voice in the film, a factor that may deter Academy voters. The film The Brutalist also faced scrutiny for its use of AI to adjust the actors’ accents.
Gascón’s past remarks and accusations of social media manipulation have added fuel to the fire of controversy surrounding the film. The competitive nature of awards season has led to a heightened level of scrutiny and criticism, with various individuals and groups taking sides and engaging in public debates and apologies. Es ist diese modernere, vielfältigere, globale Akademie, die Filme wie Emilia Pérez hervorgehoben hat – aber wenn das Ziel war, Vielfalt zu fördern und die Trans-Identität hervorzuheben, scheint es jetzt nach hinten losgegangen zu sein, indem der Trans-Schauspieler, der als Held des Jahres gedacht war, ausgelöscht wurde und einen Sieg an die anti-trans, anti-„woke“ Lobby übergeben hat, gegen die der Film hätte stehen sollen.
Wenn künstlerische Qualität zunehmend von Schmutzkampagnen, Schmutzgraben, Gegen-Vorwürfen und widerwilligen Entschuldigungen überschattet wird, ist es schwer, die Auszeichnungssaison als reine „Feier des Kinos“ zu sehen. Vielleicht war es das nie, aber vielleicht sollte es das sein und könnte es sein, mit ein wenig mehr Mitgefühl und besseren Hintergrundchecks. Mit den Worten von Gascón selbst: „Wir alle haben die Möglichkeit, uns zum Besseren zu verändern, bessere Menschen zu werden.“