“Emilia Pérez,” the acclaimed film about a transgender Mexican cartel leader reconciling with her past, is poised for the Oscars with a record-setting 13 nominations, making it not only the most nominated film of the year but also the highest for a non-English language feature in Academy history. Despite this, the film's reception in its home country has been far less enthusiastic.
Critics in Mexico have taken issue with what they perceive as the film's shallow portrayal of cartel violence, which continues to plague the nation. Comments made by its French writer-director Jacques Audiard and the lead actress Karla Sofía Gascón, particularly regarding the Spanish language and sensitive social issues, have exacerbated these criticisms. This discontent has been particularly pronounced as “Emilia Pérez” did not premiere in Mexican theaters until January 23, five months after its initial release in France and two months after the U.S. launch.
The theatrical performance in Mexico has been disappointing, with many showings reported to have empty seats. In contrast, a comical online short film parodying the French influences in “Emilia Pérez” has become a viral hit, demonstrating the gulf between the film’s intent and its reception. The film has inspired a slew of memes on social media, while families of violence victims have denounced its content.
Francisco Peredo Castro, a noted film expert from the National Autonomous University of Mexico, remarked, “It has become a real disaster,” summarizing the stark contrast between the film's accolades abroad and its rejection at home. The dissonance surrounding “Emilia Pérez” raises questions about cultural representation and authenticity in cinema, especially when viewed through the lens of social and historical sensitivity.
