The Flop of ‘Emilia Pérez’ in Mexico Despite Academy Award Nominations

“Emilia Pérez” faces harsh criticism in Mexico for its portrayal of the country despite receiving 13 Academy Award nominations. The film has been accused of minimizing cartel violence, and remarks from its creators have incited further backlash. Poor box office performance and public demand for refunds reflect its negative reception among Mexican audiences.

“Emilia Pérez,” a cinematic portrayal of a transgender Mexican cartel leader reconciling with her past, is set to compete for 13 Academy Awards, the most nominations for any film this year. Despite its accolades, including a Golden Globe for best comedy or musical, the film has faced severe backlash in Mexico due to its controversial representation of the country and its cultural contexts.

Criticism has centered on the film’s depiction of cartel violence and the portrayal of Mexico, compounded by remarks from French writer-director Jacques Audiard and lead actress Karla Sofía Gascón concerning Spanish language and social issues. The film’s delayed release in Mexican theaters, five months after its initial French debut, has resulted in poor viewership, with some audiences seeking refunds for their tickets.

The film has sparked a strong reaction on social media, generating parodies and memes that ridicule its French origins. Furthermore, families of violence victims in Mexico have denounced the film, contributing to its negative reception. Francisco Peredo Castro, a film expert, remarked, “It has become a real disaster.”

In summary, while “Emilia Pérez” garners international acclaim with 13 Academy Award nominations, it encounters significant criticism within Mexico for its portrayal of the nation and its complexities. The film’s delayed release and controversial comments from its creators have fueled discontent, resulting in poor box office performance and a public outcry. The backlash highlights the challenges faced by productions attempting to represent sensitive cultural issues.

Original Source: www.nytimes.com