The Curious Case of Emilia Pérez

Acclaimed, Controversial, and Unwatched

The 2025 Oscars has already sparked debate with its diverse lineup of films. From the feminist horror The Substance to the political thriller Conclave to the epic three-and-a-half-hour-long drama The Brutalist, there’s no shortage of variety. But one film in particular has dominated the conversation, and that’s Emilia Pérez. 

Directed by French filmmaker Jacques Audiard, this Spanish-language film follows a Mexican cartel dealer (Karla Sofía Gascón) who seeks gender-affirming surgery with the help of a lawyer (Zoe Saldaña) and, after finding redemption, founds an organisation to support victims of the illegal operations she once led. With an astounding thirteen nominations, it became the most-nominated foreign-language film of all time. After sweeping the Golden Globes and receiving critical acclaim, it was proclaimed a masterpiece. 

However, I have never seen a film more widely hated. On Letterboxd, audience reviews express sheer disappointment, with comments such as: "Like if Ryan Murphy tried to make a Pedro Almodóvar film," and, "I can't believe this was intended to be taken seriously — what was this guy thinking?", and my personal favourite: "I think they made this movie thinking, ‘Let's see how many people we can disrespect in a single sitting.’” A viral clip of the song ‘La Vaginoplastia’, in which Zoe Saldaña’s character questions a surgeon who describes the operation with poignant (and off-key) lyrics such as "from penis to vagina,” only fuelled confusion. Many questioned how, with laughable moments like this, it won Best Musical over Wicked, which starred the powerhouse vocalists Cynthia Erivo and Ariana Grande.

As well as the debate over its musical merit, its cultural authenticity has become the subject of controversy. The film is based in Mexico yet is a French production, and neither the writer, the director, nor most of the cast, are of Mexican origin. Journalist Cecilia Gonzalez called it “everything that can be wrong with a film: stereotypes, ignorance, and lack of respect,” arguing that it trivialises Mexico’s terrible crisis of mass disappearances.

Another major issue is the film’s often shallow portrayal of the transitioning process, with simplistic, and, at times, grotesque depictions of Emilia’s gender-affirming surgeries. While the first act effectively conveys the anxiety and emotional turmoil surrounding such procedures, the film sends a problematic message by suggesting that Emilia’s transition completely transforms her personality and morality. This reductionist approach caricatures transitioning as a moral choice and an act of redemption — something which it is not.

Other sore points include Selena Gomez’s stiff Spanish accent and the long series of Islamophobic and generally racist tweets by the lead actress Karla Sofía Gascón, from whom the rest of the cast quickly distanced themselves.

So why was Emilia Pérez such a critical success? Firstly, Zoe Saldaña gives an excellent performance. She is electric, combining great expressiveness with her well-known musical talent. No, the cast doesn’t match the vocal prowess of Wicked, nor does the film boast the same catchy numbers, but Emilia Pérez isn’t a traditional musical — nor does it aim to be. Instead, it channels raw emotions like rage, dissatisfaction, and injustice, prioritising intensity over polished performances. While some songs, like ‘Bienvenida’, fall short, some, such as ‘El Mal’, which exposes the hypocrisy of politicians who donate to charity while perpetuating corruption, are stunning. 

The film’s blend of political commentary, transgender issues, and social critique within a musical comedy is refreshing, as these themes are often confined to heavy dramas. I also appreciated the irony of the final scene: a memorial statue of a transgender woman and former cartel member carried in procession like a saint. Emilia Pérez is undeniably original, offering food for thought and a fresh cinematic perspective. That being said, its flaws remain evident. The portrayal of Mexico is stereotypical, the protagonist’s crimes are never problematised, and the ending feels rushed. 

Another curiosity: has everyone criticising Emilia Pérez actually seen it? Despite all the discourse, it has only grossed around $10 million compared to its $26 million budget and has struggled on streaming platforms. This is the paradox of Emilia Pérez: a film seen by few but debated by all. It exemplifies a culture where viral posts shape public opinion more than the work itself. While I hope it doesn’t win Best Picture, I must wonder whether the conversation around it has been unfairly reductive.