Upon its nomination for several Academy Awards, the drug cartel-themed musical Emilia Pérez became a focal point of intense controversy. Critics and audiences alike quickly reacted, voicing their discontent regarding the film’s portrayal of Mexican culture and the transgender community.
Viewer responses mirrored that of the Academy, as many found the film offensive to both Mexican and transgender identities. Adding fuel to the fire, actress Karla Sofía Gascón, who stars in the film, faced backlash for previously posting a series of hurtful and racist tweets. The combination of these elements created a chaotic discourse surrounding the film.
Particularly incensed are Mexican audiences, who have expressed outrage over their nation’s depiction in Emilia Pérez and the apparent disdain exhibited by French director Jacques Audiard. In a striking counterstatement, a group of Mexican creatives produced a parody titled Johanne Sacreblu, satirizing French stereotypes. Among them is Mexican writer Héctor Guillén, who recently highlighted the unacknowledged victims of the drug war in his critique of Emilia Pérez, labeling the film a “racist Eurocentric mockery.” You can read more about it here.
Zoe Saldaña’s Response to the Backlash
While Emilia Pérez did not dominate the Oscars, Zoe Saldaña secured the award for Best Supporting Actress, portraying the role of Rita Mora Castro. In the press room, a journalist from a Mexican outlet confronted her regarding the negative reception the film received in Mexico, emphasizing its emotional impact on the community. Unfortunately, Saldaña’s reply was met with disappointment by many.
“First of all, I’m very, very sorry that you and so many Mexicans felt offended. That was never our intention. We spoke from a place of love, ” Saldaña stated, adding, “But I don’t share your opinion. For me, the heart of this movie was not Mexico.” This response, particularly the phrase “sorry that you felt offended, ”fell short of a genuine apology, raising eyebrows.
Furthermore, Saldaña elaborated, stating, “We weren’t making a film about a country; we were making a film about four women. They could have been Russian, they could have been Dominican, they could have been Black, from Detroit, they could have been from Israel, they could have been from Gaza.” Such comments were perceived as tone-deaf, as they seemed to diminish the specific cultural implications relevant to the film.
In an effort to engage, Saldaña expressed her willingness to have open discussions with her “Mexican brothers and sisters” about potential improvements for the film. However, critics have noted her lack of concrete actions to address these criticisms prior to this statement, raising questions about her sincerity.
This is not Saldaña’s first controversy related to racial insensitivity. In 2016, she faced backlash for darkening her skin and donning a prosthetic nose while portraying Nina Simone in a biopic—a decision she later regretted. In 2020, she reflected, “I’m so sorry. I know better today and I’m never going to do that again.”
Time will tell if she looks back on her role in Emilia Pérez with similar regrets in years to come.
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