*Emilia Pérez*, directed by Jacques Audiard, has faced backlash despite its accolades, particularly for its portrayal of Mexico and limited Mexican representation. Critics highlight the casting choices, with a predominantly non-Mexican cast. In response to criticism, Audiard explained his creative decisions and emphasized the film’s intent to provoke thought rather than provide clear answers. He also noted that his choice of a studio over natural locations was based on artistic vision, not a disregard for Mexican culture.
Controversy Surrounding *Emilia Pérez*
Despite garnering an impressive array of accolades since its debut at Cannes, *Emilia Pérez* has not managed to win over everyone. Jacques Audiard’s latest film, which explores the journey of a drug trafficker seeking gender transition, has faced significant backlash from various Mexican figures and online critics. The film has been criticized for presenting a stereotypical portrayal of Mexico, for its choice of language, and for being shot in a studio located in France.
Critics have also pointed out the limited representation of Mexican talent, noting that only one Mexican actress, Adriana Paz, was cast in a prominent role. Paz plays the widow of a trafficking victim who develops a romantic relationship with the protagonist. In contrast, the lead role of Emilia is portrayed by Spanish actress Karla Sofía Gascón, while American-Dominican star Zoe Saldaña plays her lawyer, and American pop star Selena Gomez takes on the role of her ex-wife.
Jacques Audiard Responds to Criticism
Jacques Audiard, now 72, has largely remained silent in the face of the mounting criticism, which surged following the Golden Globe Awards where *Emilia Pérez* clinched four awards, including Best Comedy or Musical Film. As the film recently received 11 nominations for the upcoming Bafta Awards and Oscar nominations loom, Audiard has chosen to address these concerns in an interview with CNN Mexico.
Reflecting on his creative choices, Audiard explained that he was inspired to set the film in Mexico after encountering a fictional character from Boris Razon’s novel *Listen*. His ambition was to craft “an opera in Spanish, a language I cherish,” despite his lack of fluency. He admits that while the film may not adhere strictly to realism, it still aims to provoke thought and discussion. “If things seem shocking, I would be ready to apologize. I am truly sorry,” he stated, while emphasizing that cinema’s role is not to provide clear answers but to prompt inquiries. “The questions raised by *Emilia Pérez* might be inappropriate, but I find them captivating.”
Audiard also shared insights into his initial plans for shooting in natural locations across Mexico. However, after multiple scouting trips, he determined that his artistic vision was better suited to a studio environment in Brie-sur-Marne, near Paris. This decision, he insists, does not reflect a disinterest in Mexican culture. In fact, he drew inspiration from local folklore for the film’s final procession scene, specifically referencing Jesus Malverde, a 19th-century bandit revered as “the Patron Saint of cartels” for his acts of redistributing wealth from the rich to the impoverished.
In his closing remarks, Audiard acknowledged the ongoing controversy surrounding the film, urging critics to watch it and assess the quality of its themes. “Do not be mistaken, it is a very optimistic film,” he concluded, quoting André Breton: “Exchange exhausted ideas for exhausting ideas.”