For those who managed to avoid hearing about this film (consider yourself fortunate; I wish my mind had never encountered this product of the wannabe-woke cinematic industry), the story follows a feared Mexican cartel leader named Manita, who vanishes only to re-emerge years later as a trans woman, Emilia (played by Karla Sofía Gascón). Seeking a new life and redemption, she hires a struggling lawyer, Rita (Zoe Saldana), to help her with her transition and escape her past crimes. As Emilia attempts to reconcile with her family and redefine her identity, she also seeks redemption by assisting in the research of desaparecidos.

A Closer Look at the Growing Backlash Against Emilia Pérez

Zoe Saldana’s recent Golden Globe win, and the film’s rising momentum towards the Oscars, have put Emilia Pérez in a challenging position, especially as controversies surrounding the film intensify. Much of the backlash stems from its lead actress, Karla Sofía Gascón, who has faced significant criticism due to previous tweets rife containing homophobic and Islamophobic remarks. The situation is particularly ironic, considering she is a trans woman. Could this mean that the film’s golden streak may be coming to an end?
In this article, we will break down everything that went wrong with Emilia Pérez (spoiler alert: it was everything) and discuss why it stands as a disservice to both cinema and the Academy, which seems all too willing to reward performative progressivism rather than authentic representation.

Questionable Casting, Location Choices, and Linguistic Missteps in Emilia Pérez

Despite being set in Mexico, Emilia Pérez fails to feature Mexican talent in key roles. The casting choices are jarring, with non-native Spanish speakers struggling with accents that make the dialogue sound unnatural. Even Zoe Saldana, despite her acting talent, delivers lines with an awkward cadence that detracts from the film’s authenticity.

The film attempts to address issues such as immigration, cartel violence, and other sociopolitical topics but does so in a detached, exploitative manner. The setting, supposedly Mexico City, lacks a true sense of place. The vastness of the city is ignored, and in a particularly absurd decision, the film includes a desert scene meant to take place in Mexico City. For the record, that is wildly inaccurate, as confirmed by a Mexican friend. To make matters worse, much of the film was shot in France, further severing its connection to the culture it claims to represent.

Trans Identity Reduced to a Simplistic “New Year, New Me” Moment

One of the film’s most glaring failures is its depiction of trans identity. Emilia Pérez leans into a simplistic “death and rebirth” trope, seen through a cisgender, heteronormative lens that reduces gender transition to a mere “new year, new me” moment. This approach overlooks the emotional, psychological, and social complexities involved in transitioning, treating it as a way to absolve past mistakes. The notion that transitioning can somehow wipe the slate clean, particularly for a former cartel member, is not only irresponsible but also very offensive. Transitioning is not an escape route; it is a deeply personal and multifaceted journey that cannot be reduced to a plot device.

Adding to the misrepresentation, one of the film’s musical numbers fixates entirely on vaginoplasty, portraying it as the defining step of the transition process. This outside uninformed perspective reinforces the harmful stereotype that gender identity is dependent on undergoing such surgery. Not all transgender people choose or even desire this procedure, and presenting it as the final “completion” of a transition is reductive and exclusionary.
One notably absurd scene involves a fight between Emilia and Selena Gomez’s character, where Emilia seemingly “reverts” to her male identity. This moment, executed poorly and lacking any proper narrative justification, feels like a cheap gimmick that confuses rather than enriches the story. In well-crafted musicals, the songs enhance the storytelling. However, in Emilia Pérez, they do the opposite. The musical numbers are uninspired, poorly performed, and fail to contribute to the narrative. Instead of adding emotional depth, the musical interludes come across as forced and disconnected.

Emilia Pérez, the Urge to Be Woke Without the Work

In its desperate attempt to be seen as progressive, Emilia Pérez simplifies important social issues to surface-level talking points. The film hints at serious topics like cartel violence, forced disappearances, and trans rights, yet never engages with them in a meaningful way. What could have been a powerful exploration of identity and justice instead becomes a hollow exercise in performative wokeness. 

Emilia Pérez, rather than a groundbreaking film, serves as a cautionary tale of how not to approach sensitive social issues. Despite the backing of Saint Laurent, the production and costumes can’t save its political messaging, which feels more like a marketing strategy than a genuine effort at representation.
The film suffers from misguided casting choices and shallow treatment of trans identity and Mexican culture, ultimately failing on every front. Instead of fostering meaningful conversations, it reduces complex topics to tropes, stereotypes, and spectacle. Emilia Pérez is undeserving of the praise it has received and serves as a reminder that true representation requires more than good intentions; it demands research, respect and authenticity.