Movies

Column: The narco musical ‘Emilia Pérez’ isn’t as bad as critics say — it’s worse

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13 Academy Award nominations were achieved by the groundbreaking production titled “Emilia Pérez”, which is a French creation distributed on Netflix and happens to be a unique blend of genres – a Mexican trans-narco musical. This remarkable film etched its name in history on Thursday morning.

I find myself in awe at the remarkable achievement of this Spanish-language masterpiece, which has broken new ground by becoming the most highly nominated non-English film ever. It’s truly an honor to witness history being made as it stands proudly as only the third Spanish production to be recognized with a Best Picture nomination. What makes this even more impressive is that it surpassed the original “West Side Story” in amassing the highest number of Academy Awards for films centering around Latinx themes and experiences.

1. Karla Sofía Gascón, portraying the lead character in a story about a tough drug lord transforming into a vibrant woman, is the first openly trans individual to receive an Oscar nomination in any acting category. Zoe Saldaña, recognized with a nomination for Best Supporting Actress, previously claimed wins at the Golden Globes and Cannes Film Festival for her remarkable portrayal of Rita Mora Castro, Emilia’s clever attorney. Jacques Audiard was also acknowledged in the Best Director category.

2. Karla Sofía Gascón, who plays a powerful drug lord turned lively woman, is the first transgender individual to get an Oscar nomination for acting. Zoe Saldaña, up for Best Supporting Actress, has previously won a Golden Globe and a Cannes Film Festival award for her outstanding performance as Rita Mora Castro, Emilia’s resourceful lawyer—a significant achievement for this often overlooked talent. Jacques Audiard was also recognized in the category of Best Director.

3. Karla Sofía Gascón, who plays a titular macho drug lord that undergoes a transformation into a vivacious woman, is the first openly trans person to be nominated in any acting category at the Oscars. Zoe Saldaña, up for Best Supporting Actress, has already secured a Golden Globe and a Cannes Film Festival award for her exceptional performance as Rita Mora Castro, Emilia’s savvy attorney—a first major recognition for this undervalued performer. Jacques Audiard was also recognized in the category of Best Director.

4. Karla Sofía Gascón, who takes on the role of a ruthless drug lord that evolves into a spirited woman, is the first openly trans person to be nominated for an Oscar acting award. Zoe Saldaña, up for Best Supporting Actress, has previously won a Golden Globe and a Cannes Film Festival award for her remarkable turn as Rita Mora Castro, Emilia’s resourceful lawyer—a significant milestone in the career of this often overlooked talent. Jacques Audiard was also recognized in the category of Best Director.

5. In the Oscar acting categories, Karla Sofía Gascón, who plays a tough drug lord turned lively woman, is the first openly trans person to receive a nomination. Zoe Saldaña, up for Best Supporting Actress, has previously won a Golden Globe and a Cannes Film Festival award for her outstanding performance as Rita Mora Castro, Emilia’s clever attorney—a major recognition for this often underestimated performer. Jacques Audiard was also acknowledged in the Best Director category.

6. As a transgender actress, Karla Sofía Gascón has been nominated in an acting category at the Oscars for her portrayal of a drug lord who transforms into a woman. Zoe Saldaña, up for Best Supporting Actress, has previously won a Golden Globe and a Cannes Film Festival award for her impressive role as Rita Mora Castro, Emilia’s resourceful lawyer—a significant achievement for this underappreciated talent. Jacques Audiard was also recognized in the category of Best Director.

7. Karla Sofía Gascón, who plays a drug lord that transitions into a woman, is the first openly trans person to receive an Oscar acting nomination. Zoe Saldaña, up for Best Supporting Actress, has previously won a Golden Globe and a Cannes Film Festival award for her exceptional performance as Rita Mora Castro, Emilia’s resourceful lawyer—a notable accomplishment for this often undervalued performer. Jacques Audiard was also acknowledged in the category of Best Director.

8. In the acting categories at the Oscars, Karla Sofía Gascón, who plays a macho drug lord turned vivacious woman, is the first openly trans person to receive a nomination. Zoe Saldaña, up for Best Supporting Actress, has previously won a Golden Globe and a Cannes Film Festival award for her impressive portrayal as Rita Mora Castro, Emilia’s resourceful attorney—a significant achievement for this often overlooked talent. Jacques Audiard was also recognized in the category of Best Director.

These honors have been bestowed upon “Emilia Pérez” amidst a whirlwind of debate, reminiscent of the spirited melodies surrounding her name.

Awards

Journalist Glenn Whipp shares his thoughts on the most significant oversights and unexpected choices from this year’s Oscar nominees, which were revealed during a ceremony held in Los Angeles on Thursday.

Critics among Mexican intellectuals claim that the film trivializes the devastating drug wars in Mexico, which have resulted in almost half a million deaths and over 100,000 disappearances during this century. GLAAD characterized it as an outdated representation of a transgender woman.

During a podcast, renowned Mexican comedian Eugenio Derbez criticized the accent of Mexican-American actress Selena Gomez, who portrays Emilia’s wife, as “unjustifiable.” Later, he issued an apology for his remarks. On the other hand, Oscar-nominated cinematographer Rodrigo Prieto expressed to Deadline that he found the movie “devoid of authenticity,” due to a lack of Mexican representation both in front and behind the camera.

Last week, Audiard apologized on CNN Español for any shock his film may have caused, as the reaction has been quite intense.

I hadn’t planned on watching “Emilia Pérez,” given that there’s no shortage of films and shows focusing on Mexico’s cartels. However, the mix of positive and negative reviews piqued my interest enough to stream it. As someone who has been following portrayals of Mexicans in cinema since my film studies days at Chapman University, I couldn’t help but be intrigued by its growing Oscar attention, making it one of the most notable films reflecting the Mexican experience in recent years.

I follow the arguments made by Prieto and Derbez, despite their snobbish demeanor. The pronunciations vary significantly, and not all Mexican Spanish is spot-on (for example, a prison in Mexico should be referred to as a penitenciaria, not a cárcel). Audiard portrays Mexico City, one of the world’s magnificent cities, primarily through interior scenes and taco stands – this is likely because he filmed his movie predominantly on sound stages in France.

It’s understandable why GLAAD might be frustrated that the French director made the choice to portray a deeply personal decision like transitioning in a way reminiscent of the popular TV show “My Crazy Ex-Girlfriend,” complete with characters undergoing procedures like vaginoplasty and penoplasty while bandaged, which could be seen as insensitive or disrespectful.

The conversation isn’t very striking, the English subtitles are inaccurate, the tunes aren’t catchy (even though two of them got Oscar nominations), and the few straight Mexican men shown are often portrayed as corrupt, overly sexualized, or excessively violent. It’s fine for a non-Mexican director to make a film about Mexico and its people, but try to capture its authenticity, would you?

The standout elements in “Emilia Pérez” are the robust performances delivered by Saldaña, Gascón, Gomez, and Adriana Paz, who portrays Emilia’s romantic interest. I found myself engaged because I was eager to see if the movie could offer a fresh perspective on the narco genre, as some critics claim it does.

In a different wording, let me say this: The selection of musical style wasn’t offensive in any way. Remarkable musical productions, whether performed live or on film, employ their imaginative settings to tackle modern-day concerns and problems – like the moral play about race and class portrayed in “Wicked” or the French Revolution depicted through “Les Misérables.” The biting fictional critique of the American dream is encapsulated in the song “Remember My Forgotten Man,” along with its accompanying scene, from Busby Berkeley’s “Gold Diggers of 1933.” To this day, one of the funniest responses to Nazism can be found in Mel Brooks’ “The Producers.

Emilia Pérez appears to adhere to that rebellious cinematic tradition; however, surprisingly, it ends up resembling every other narcotic film. Despite Audiard’s persistent claims that his contemporary opera challenges Mexican stereotypes, he succumbs to one of the most detrimental ones at the very moment when “Emilia Pérez” – the movie as well as the character – should have revealed its core essence.

Approximately midway through the film, Rita and Emilia are savoring food at an open-air market when a woman gives them a flyer featuring her long-lost son’s photo. The son had vanished years earlier. Emilia confides her remorse over her part in the murder of numerous individuals and the ensuing turmoil that has kept Mexico in constant upheaval. Rita encourages her superior to take action. Together, they establish an organization aimed at locating the remains of missing persons—the disappeared—and ignite a wave of moral reformation.

Awards

As a film enthusiast, I’m thrilled to express that Karla Sofía Gascón, our captivating lead in ‘Emilia Pérez’, has etched her name in cinematic history! She is now the first openly transgender woman to receive an Oscar nomination in the acting category. This groundbreaking achievement underscores the power of representation and the strides we’re making towards inclusivity in Hollywood.

Audiard may be overstating the originality of his work in Mexico, as many people have been doing this kind of work for a long time and will likely continue to do so even after the film’s popularity wanes. These individuals, including journalists like “Emilia Pérez,” have bravely revealed secrets that others are unwilling or afraid to disclose.

During a CNN en Español interview, Audiard openly acknowledged that he had no desire to portray Mexico truthfully, explaining, “Given the choice between the myth and reality, I would rather craft the myth.” This sentiment mirrors the well-known finale in John Ford’s “The Man Who Shot Liberty Valance.

It’s shameful to eliminate real-life anti-drug activists, and the absurd, blasphemous conclusion is particularly appalling. [Spoiler Alert]: If you don’t wish to learn the ending, skip the following paragraph.

It’s disrespectful to kill actual anti-drug workers, and the ridiculous, offensive ending is especially disappointing. [Spoiler Alert]: If you don’t want to know how it ends, avoid reading the next part.

A multitude is heard singing praises for Emilia, whom they acclaim as the one who performed a miracle by transforming lead into gold. A statue of her, dressed in robes and with arms extended like the Virgin Mary, is carried through the city streets while a brass band from Oaxaca plays a solemn waltz reminiscent of a funeral procession.

Ultimately, “Emilia Pérez” is portrayed as an attempt at a character resembling “Mrs. Doubtfire,” but instead of charm and intelligence, she is depicted with arrogance and guns. It’s no surprise that the film garnered numerous Oscar nominations; Academy members often prefer their Mexican cinema to depict a tragic, dysfunctional setting in need of redemption and serving as a cautionary tale about changing questionable behaviors, a narrative trope that dates back to the era of Manifest Destiny.

Poor Mexico: so far from God, so close to Hollywood.

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2025-01-23 23:31

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