“Emilia Pérez” has received 13 Academy Award nominations and critical acclaim internationally but faced severe backlash in Mexico. Critics argue the film trivializes cartel violence and misrepresents the country, leading to empty theaters and refund requests. Negative comments from its creator and lead further fueled discontent, while a parody gained popularity.
The film “Emilia Pérez,” focusing on a transgender Mexican cartel leader confronting her past, has garnered considerable attention, receiving 13 Academy Award nominations—the most for any film this year—including unprecedented recognition for a non-English language production. In addition to winning several accolades such as best comedy or musical at the Golden Globe Awards, its reception in Mexico stands in stark contrast. The movie has faced significant backlash domestically, primarily due to its portrayal of Mexico and the trivialization of the pervasive cartel violence that afflicts numerous communities.
Moreover, criticisms have been directed towards comments made by the film’s French writer-director Jacques Audiard about the Spanish language, perceived by many as derogatory, alongside remarks by lead actress Karla Sofía Gascón that further inflamed discontent. Released in Mexican theaters on January 23—five months post debut in France and two months after its U.S. launch—the film has drawn largely empty audiences, provoking numerous requests for ticket refunds.
In response, an online parody short film highlighting its French roots has achieved popularity, while “Emilia Pérez” has become a target for social media ridicule and condemnation from families of violence victims in Mexico. As noted by Francisco Peredo Castro, a film expert from the National Autonomous University of Mexico, the film’s performance domestically has been termed a “real disaster.”
In conclusion, “Emilia Pérez” has encountered a polarized reception, with its international acclaim overshadowed by local criticism in Mexico. The film has sparked discussions regarding its representation of cultural issues and violence, damaging its potential acceptance among Mexican audiences. The contrasting success of a parody underscores the film’s contentious nature and highlights the challenges faced by narratives departing from cultural norms.
Original Source: www.nytimes.com
