Mixed Reactions in Mexico to ‘Emilia Pérez’ Amid Criticism of Superficial Portrayals

MEXICO CITY (AP) — Despite widespread acclaim, including wins at Cannes and the Golden Globes and 13 Oscar nominations, the highly anticipated "narco-musical" Emilia Pérez has sparked significant backlash just days after its debut in Mexico. The film, directed by French filmmaker Jacques Audiard, has been met with criticism over its portrayal of sensitive topics, including violence, the transgender experience, and the search for Mexico's disappeared.

The movie tells the story of a fictional Mexican drug trafficker named Manitas del Monte (played by Karla Sofia Gascón), who leaves her life of crime to transition into a transgender woman and become an activist searching for Mexico’s thousands of disappeared individuals. However, the plot also explores her jealousy toward her ex-wife Jessi (Selena Gomez) and her romantic involvement with another woman, Epifanía (Adriana Paz).

Despite receiving accolades and drawing attention with its Oscar nominations—Best Picture, Best Actress for Gascón, and Best Supporting Actress for Saldaña, among others—the film’s reception in Mexico has been lukewarm. The premiere saw an underwhelming turnout with 20,000 attendees, grossing about $74,000 (1.5 million pesos).

Many viewers expressed mixed feelings, with some finding the film's musical sequences entertaining but criticizing its depiction of violence and its approach to serious topics. Dora Pancardo, a 45-year-old women’s mentor, appreciated the musical numbers but felt the portrayal of violence was “crude” and questioned the accuracy of Selena Gomez's Spanish.

The film has also faced criticism for its casting, with only one Mexican actor, Adriana Paz, in a supporting role. Critics pointed out the film's international nature, as it was shot in France, and the accents of its cast, which some felt were inconsistent with authentic Mexican speech.

Film critic Gaby Meza described Emilia Pérez as “exotic and bold” but lacking depth in its treatment of the trans experience, narco-violence, and the disappearance crisis, which remains an open wound for many Mexicans.

With over 121,000 people missing due to Mexico’s ongoing drug violence, families of the disappeared have long fought for justice. Artemisa Belmonte, who has been searching for her missing relatives since 2011, started a petition against the film’s release in Mexico. She criticized the movie for trivializing the subject matter, saying it made a “musical” out of a painful issue without proper research or understanding.

“I feel like it’s extremely offensive, overly simplistic,” said Belmonte. “You can’t talk about the subject as if it were something to make a musical about.”

At a press conference in Mexico, director Jacques Audiard acknowledged the criticism but defended the film’s intent. “If it seems to you that I do it too lightly, I apologize,” he said.

While the film has faced sharp criticism, it has garnered support from prominent figures in the film industry, including Guillermo del Toro and Issa López. Some viewers, like Héctor Ayala, a 58-year-old retiree, felt the film was important in raising awareness about violence and disappearances, hoping it would inspire societal and governmental action.

“It’s good that they’re focusing on the violence, that way governments and society will do more to stop problems like disappearances and organized crime,” Ayala said.

Others, like Guillermo Mota, saw the film as a tool for international audiences to understand Mexico’s complex issues, particularly for those who may not be exposed to Mexican documentaries.

However, for transgender human rights advocate Láurel Miranda, the film’s portrayal of transgender characters raised significant concerns. Miranda noted the casting call for a “middle-aged transgender actress with a robust build” and questioned the portrayal of Manitas’ motivation for transitioning. She also pointed out that Mexico remains one of the deadliest places in the world for transgender women, a reality the film does not adequately address.

“The representation in Emilia Pérez does not reflect the harsh reality for trans people in Mexico,” Miranda said, adding that the film presents an idealized version of a transgender character, which may not serve the real-life experiences of many in the community.

As Emilia Pérez continues to stir debate, it remains clear that its portrayal of sensitive subjects, particularly in the context of Mexico’s ongoing issues with violence and the fight for justice, is deeply polarizing.