Why ‘Emilia Pérez’ Failed to Resonate with Mexican Audiences

“Emilia Pérez,” a film about a transgender Mexican cartel leader, has received 13 Academy Award nominations, the most ever for a non-English film. However, it has faced harsh criticism in Mexico for its portrayal of the country and insensitivity toward cartel violence, leading to a poor box office performance and public demand for refunds.

The film “Emilia Pérez,” which explores the life of a transgender Mexican cartel leader reconciling with her past, has garnered significant attention, receiving 13 Academy Award nominations—more than any other film this year and setting a record for non-English language films. Despite its international accolades, including the Golden Globe for best comedy or musical, the film has faced substantial backlash in Mexico.

Critics in Mexico argue that the film misrepresents the country and downplays the severe cartel violence affecting many communities. Negative sentiments were fueled by controversial remarks made by its French writer-director, Jacques Audiard, regarding the Spanish language, as well as comments from lead actress Karla Sofía Gascón about Islam and George Floyd. These statements have intensified the film’s unpopularity among Mexican audiences.

“Emilia Pérez” was released in Mexican theaters on January 23, approximately five months after its French premiere and two months after its U.S. debut. The reception has been dismal, with theaters showing the film experiencing a lack of patrons, prompting some audience members to seek refunds. In contrast, a satirical Mexican short film parodying the French influences of “Emilia Pérez” achieved notable success online.

The film has become a subject of ridicule on social media, creating a significant backlash, especially among families affected by cartel violence in Mexico. Film expert Francisco Peredo Castro commented, “It has become a real disaster.”

In summary, “Emilia Pérez” has faced widespread criticism in Mexico for its portrayal of the country and its cultural insensitivity, overshadowing its international nominations and awards. The film’s release was met with predominantly empty theaters and public discontent, reflecting a stark contrast to its acclaim abroad. The controversy surrounding the film highlights deep-seated issues regarding representation and sensitivity in cinema.

Original Source: www.nytimes.com