MEXICO CITY — Just a day after its release in Mexico, the highly regarded “narco-musical” Emilia Pérez has come under fire for its superficial handling of sensitive subjects. Directed by Jacques Audiard, the film has gained recognition at prestigious events, including wins at Cannes and the Golden Globes, as well as 13 Oscar nominations, which is a record for a film not in English.
The plot centers around a fictional Mexican drug dealer, known as Manitas del Monte, played by Karla Sofia Gascón. After leaving her life of crime, Manitas transitions into a transgender woman and becomes an activist on the quest to find thousands of missing persons in Mexico. However, the narrative is complicated by her intense jealousy toward an ex-wife, Jessi, portrayed by Selena Gomez, despite her developing feelings for another woman, Epifanía, played by Adriana Paz.
Upon its premiere, “Emilia Pérez” did not perform as well as expected at the box office, attracting 20,000 viewers and grossing approximately $74,000 (1.5 million pesos). Critics have voiced concerns that the film glamorizes the enduring violence in Mexico rather than addressing these issues earnestly. Many attendees expressed enthusiasm for viewing the most Oscar-nominated film of the year but left the theater feeling unsatisfied.
Dora Pancardo, a viewer, found the musical aspects engrossing but was critical of the ramped-up violence depicted in the film. “The desire to highlight the violence in society is valid, yet it felt exaggerated,” she remarked. She also noted that Gomez’s command of Spanish was not reflective of authentic Mexican dialogue, which added to her disappointment.
The writing has faced significant criticism due to the film’s mostly non-Mexican cast, with only Paz holding a minor role. The results have produced an incongruous mix of accents and perspectives, especially since the film was filmed in France. Mexican film critic Gaby Meza described “Emilia Pérez” as lacking in depth, saying it glosses over critical experiences associated with both the drug trade and the plight of the missing.
For many Mexicans, the harsh realities of narco violence and the ongoing struggle of families dealing with loss are far from entertainment. Official data indicates that more than 121,000 people have gone missing amid the drug-related conflicts in Mexico, leading many families to embark on relentless searches for their loved ones while risking their own safety.
Artemisa Belmonte, who has been searching for justice for her missing relatives in Chihuahua since 2011, has voiced strong opposition to the film. She initiated a petition on Change.org to prevent its release, stating, “It trivializes a grave issue, making light of what is an incredibly painful reality for so many. How can such a frivolous portrayal receive so many accolades?”
In response to the backlash, Audiard addressed concerns during a press conference, asserting that he approached the subject matter thoughtfully yet acknowledged the criticism regarding the film’s tone. “I apologize if it feels too lighthearted,” he commented.
Prominent figures in cinema, such as Guillermo del Toro and Meryl Streep, have come to the film’s defense, emphasizing its value in bringing attention to serious topics. However, reactions from audiences vary significantly. Héctor Ayala, a retiree, rushed to see the film upon learning of its Oscars recognition, believing it could spur societal awareness and change regarding organized crime.
Financial adviser Guillermo Mota was drawn to the film by the heated online discussions surrounding it. “It’s an international representation that might help those unfamiliar with Mexico’s struggles to gain some insight,” he mentioned, reflecting on the film’s potential for awareness.
Transgender rights advocate Láurel Miranda expressed her concerns about the casting call for the film, highlighting biases in how transgender women are depicted. She noted that the original script portrayed Manitas as transitioning merely to escape the law, while Gascón sought to emphasize a genuine desire for identity.
Miranda criticized the film’s failure to reflect the stark reality for transgender individuals in Mexico, who face grim statistics surrounding violence. “While Emilia Pérez is presented as a powerful figure, this concept contrasts sharply with the lived experiences of trans people in our society. We must question whose narrative is truly being served here,” she concluded.
