“Emilia Pérez”, directed by Jacques Audiard, has had its fair share of praise and controversy since its release.
While the film racked up multiple accolades, including prestigious awards at the Cannes Film Festival and Golden Globes, as well as 13 Oscar nominations, the glow surrounding it has been dimmed by strong criticism.
The film tells the story of an attorney (Zoe Saldaña) who helps her drug lord client, Manitas (Gascón), retire and transition.
However, critics have pointed out that several elements of the film feel disingenuous and at times downright offensive. It is in this space where the broader themes of misrepresentation and marginalisation rear their heads.
One of the most significant criticisms levelled at “Emilia Pérez” is its portrayal of Mexican culture and the transgender community. Critics argue that rather than offering a nuanced representation, the film falls into the trap of perpetuating harmful stereotypes.
The depiction of Mexicans, especially in light of the ongoing cartel-related violence in Mexico, has been labelled as trivial and insensitive.
A petition on “Change.org,” with over 11,000 signatures, calls for the film's removal from Mexican theatres, stating that it “trivialises the problem of the missing in Mexico,” a real-life crisis that has claimed hundreds of thousands of lives.
Journalist Johanna Ferreira pointed out in “Pop Sugar” that the fight for accurate representation in Hollywood has been “long and exhausting” for Latino people. Historically, they’ve been boxed into roles that range from criminals to hypersexualised side characters.
“For decades, we've been sidelined, stereotyped, and reduced to one-dimensional roles like criminals, maids, and hypersexualised side characters.”
She argues that “Emilia Pérez” continues this trend, using Mexican and transgender identities as mere props for spectacle rather than exploring them with the depth they deserve.
Another major point of contention surrounds the casting of Selena Gomez in a role that required her to speak Spanish, a language she reportedly had to learn for the film.
Critics were quick to point out that her Spanish was far from fluent and often cringeworthy, with some questioning why the filmmakers chose a celebrity based on fame rather than authenticity.
Ferreira wrote: “As a Latina with broken Spanish myself, this is by no means to throw shade at Gomez. But her accent is painfully noticeable.
“Why not use this opportunity to uplift Mexican-born actors who rarely get a chance to shine in major Hollywood films?”
This sentiment taps into a larger issue with Hollywood’s casting choices, using well-known names rather than opting for actors who represent the communities depicted in the films.
By casting someone with little connection to the language and culture, “Emilia Pérez” missed an opportunity to provide authentic representation to Mexican talent, many of whom struggle to find substantial roles in major films.
For many critics, the film is a symbol of the ongoing struggle for proper representation in Hollywood. While it has been lauded for its ambition, style and performances, its success at prestigious award shows is seen as a bittersweet victory for the Latina community.
It’s not the first time a film has faced backlash for similar reasons. Movies like “Green Book2 (2018) and ”Crash“ (2004) were both criticised for their handling of race and identity; the criticisms of “Emilia Pérez” seems to be no different.
In both cases, the films were praised by critics and award bodies, but many argued that their portrayals of marginalised groups were shallow and failed to engage with the real issues facing these communities.
In “Emilia Pérez,” the portrayal of the transgender experience also leaves much to be desired. The director has defended the film, acknowledging the criticisms while explaining that some scenes were intentionally exaggerated.
In an interview with “AFP,” he admitted: “I perhaps handled it clumsily,” though he stood by the decision to make a film that is “both local and universal”.
