The Dissonance of ‘Emilia Pérez’: A Critical Look at its Reception in Mexico

“Emilia Pérez,” a film about a transgender cartel leader, has received 13 Academy Award nominations but has flopped in Mexico due to its controversial depiction of the country and its issues. Criticism centers around its treatment of cartel violence and comments by the filmmaker and lead actress, leading to numerous complaints and demands for refunds among Mexican audiences.

The film “Emilia Pérez,” which centers on a transgender Mexican cartel leader reconciling with her past, has received 13 Academy Award nominations, more than any other film this year, and holds the record for nominations for a non-English language film. Despite its acclaim in international circles, its reception in Mexico has been overwhelmingly negative due to criticisms of how the country and its societal issues are portrayed.

Critics have pointed out the film’s insufficient representation of the cartel violence affecting Mexico, alongside the limited involvement of Mexican talent in its production. Additionally, comments by the film’s French writer-director, Jacques Audiard, regarding the Spanish language, alongside remarks made by lead actress Karla Sofía Gascón concerning Islam and George Floyd, have intensified backlash among Mexican audiences.

The film premiered in Mexican theaters on January 23, five months post its debut in France and two months after releasing in the U.S., leading to surprisingly empty theaters across Mexico. Some viewers were dissatisfied to the extent of demanding refunds, while a parody of “Emilia Pérez” was favorably received online, further illustrating the divide. The film has also faced public condemnation from the families of violence victims in Mexico, adding weight to its negative reception.

As film expert Francisco Peredo Castro summarizes, “It has become a real disaster,” reflecting the stark contrast between the film’s international accolades and its domestic criticism. The film’s portrayal of Mexican culture and issues has sparked significant conversation and discontent, illustrating a fundamental disconnect with its local audience.

In summary, while “Emilia Pérez” has garnered remarkable international acclaim with multiple award nominations, its failure to resonate positively in Mexico stems from criticisms regarding its portrayal of the country and its social issues. The disconnect illustrates broader cultural tensions and highlights the significance of representing local perspectives authentically in cinema.

Original Source: www.nytimes.com