The Mixed Reception of ‘Emilia Pérez’ in Mexico: A Glitzy Hollywood Lens on Sensitive Realities

MEXICO CITY (AP) — Although the Oscar-nominated "narco-musical" Emilia Pérez has been lauded by critics abroad, its debut in Mexico quickly stirred up controversy for its superficial handling of complex issues.

Directed by French filmmaker Jacques Audiard, Emilia Pérez follows the story of a fictional Mexican drug trafficker, Manitas del Monte (played by Karla Sofia Gascón), who transforms her life by becoming a transgender activist, searching for Mexico’s thousands of disappeared people. As she embarks on her journey, Manitas navigates the turbulence of jealousy toward her ex-wife Jessi (Selena Gomez), even as she falls deeply in love with another woman, Epifanía (Adriana Paz).

While the film has received global acclaim, including major wins at Cannes and the Golden Globes, and 13 Oscar nominations, its local reception has been more critical. Despite the star-studded cast and the hype surrounding its Oscar nominations, the film grossed a modest $74,000 (1.5 million pesos) on its opening night, attracting around 20,000 attendees. Many of them, however, left theaters expressing dissatisfaction with the portrayal of Mexico’s ongoing violence.

Dora Pancardo, a 45-year-old mentor for women, enjoyed the musical performances but found the portrayal of violence too harsh. “The director wanted to show that we live in a violent society, which isn’t a lie, but it felt crude,” she said. She also criticized Selena Gomez’s Spanish, noting that it felt out of place for Mexican audiences.

The film’s writing has also come under fire, with many critics noting its lack of depth in exploring the trans experience, narco culture, or the trauma of the disappeared. Mexican film critic Gaby Meza described Emilia Pérez as “exotic and bold,” but ultimately lacking substance, using a superficial mix of themes as “an ingredient to sweeten.”

The issue of Mexico’s ongoing drug war and the more than 121,000 people who have disappeared remains deeply personal and painful for many. Families who have lost loved ones continue to search for answers and justice, often at great personal risk. Artemisa Belmonte, whose family members were victims of the drug violence in Chihuahua, launched a petition against the movie's release, criticizing its trivialization of the subject matter. “You can’t make a musical about something so painful,” she argued, adding that the filmmakers clearly did not consult with those affected by disappearances.

At a press conference in Mexico, director Jacques Audiard responded to the backlash, expressing regret if the film seemed too light-hearted in its approach to such a serious issue. "If it seems to you that I do it too lightly, I apologize," he said.

Despite the criticism, some high-profile figures, including Guillermo del Toro, Issa López, and Meryl Streep, have defended the film. Supporters argue that Emilia Pérez helps bring global attention to Mexico's social issues, even if it doesn’t fully capture the reality.

Others, like Héctor Ayala, a 58-year-old retiree, see value in the movie for sparking discussions about the violence and disappearances plaguing the country. "It’s good that they’re focusing on the violence, that way society and the government might do more to stop these problems," he said.

The film’s portrayal of transgender identity has also drawn ire from LGBTQ+ advocates, such as Láurel Miranda, who criticized the casting and representation of transgender women. She noted the film’s portrayal of Emilia Pérez as an "all-powerful" character, contrasting it with the harsh realities faced by transgender individuals in Mexico, where the country has been one of the most dangerous places in the world for transgender women.

Ultimately, Emilia Pérez offers an ambitious, albeit controversial, glimpse into Mexico's violent landscape, but its portrayal of sensitive topics has left many questioning whether it does justice to the lived experiences of those affected.