The film "Emilia Pérez," written and directed by French auteur Jacques Audiard, has emerged as a focal point of discussion in cinematic circles. Set against the backdrop of Mexico, this musical drama delves into the life of a male Mexican drug lord who transitions into a woman in search of restorative justice for the nation's disappeared. Despite its poignant storyline, the film has sparked significant debate due to its production choices and cultural portrayal. The movie, largely filmed in France, has received critical acclaim, securing four Golden Globes, five European Film Awards, and eleven BAFTA nominations. However, it faces criticism for its perceived Eurocentric approach and lack of authenticity.
Selena Gomez, an American actress with Mexican heritage, headlines the film. Portraying Jessi, Gomez had to relearn Spanish for the role, as she had lost her fluency over time. This character was reimagined to be Mexican-American, aligning more closely with Gomez’s own background. Despite these efforts, some critics, including Mexican actor Eugenio Derbez, have criticized Gomez's Spanish pronunciation in the film. Responding to such critiques on TikTok, Gomez stated that she did her best given the time constraints.
The film's narrative centers on a group of searching mothers seeking their disappeared children, one of Mexico's most vulnerable communities. Critics argue that the depiction of a drug lord's transition into a woman is both retrograde and insensitive. Concerns have also been raised about the film's authenticity and superficial portrayal of Mexican culture. Jacques Audiard, who is not a Spanish speaker, has faced backlash for what some see as an insensitivity to Mexican culture.
"There's a drug war, nearly 500,000 deaths [since 2006] and 100,000 missing in the country," said Héctor Guillén.
Guillén, a vocal critic of the film, highlighted the gravity of using Mexico's ongoing violence as a backdrop for an opera-like narrative. He expressed frustration over the film disregarding the work of Mexican filmmakers and failing to involve more Mexican screenwriters or actors beyond those like Adriana Paz.
"We are still immersed in the violence in some areas. You are taking one of the most difficult topics in the country, but it's not only any film, it's an opera. It's a musical. So for us and many activists, it's like you are playing with one of the biggest wars in the country since the Revolution [in the early 20th Century]," Guillén added.
Adriana Paz defended Audiard's intentions, arguing that his curiosity about other cultures and his storytelling approach should be seen as respectful rather than appropriative.
"He's challenged himself and defied this gravity that we hold ourselves to through language, and it hasn't prohibited himself from connecting with other people," stated Paz.
"I've always admired him for being curious about other cultures and for telling stories without appropriating himself," she continued.
Emilia Pérez, sharing the title with the film itself, reflected on the delicate balance between cultural sensitivity and creative storytelling.
"I think that we're living through really sensitive times where communities are very vocal about being represented accurately," Pérez noted.
"And I vacillate with respecting that, which is primarily my goal, but also allowing space for gentle filmmakers or storytellers to have a very special approach to it and giving space for them to do it even if they're not a part of that community," she elaborated.
Audiard himself acknowledged the criticisms and expressed that the film was intended more as an opera than a realistic depiction.
"Their way of making the film is to disregard so many in the (film) industry in Mexico already talking about this topic, like not considering Mexican screenwriters or more Mexican actors other than Adriana, who did an amazing job," Guillén argued.
"Having a few Mexicans in there does not stop it from being a Eurocentric production," he concluded.
Despite these criticisms, Guillén expressed his belief in Audiard’s good intentions.
"I think Audiard is a great filmmaker, and I think he was well-intentioned with the film. I do not think he's a racist French man who wants to ridicule our culture," Guillén admitted.
The film’s reception has been polarized, with some appreciating its artistic vision while others decry its perceived insensitivity. The story touches on deep-seated issues within Mexican society and seeks to highlight the ongoing struggles faced by many families searching for their missing loved ones.
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