After watching the 2025 Oscar nominations on Jan. 23, many were shocked that the movie-musical “Emilia Pérez” managed to win 13 nominations, beating many acclaimed films such as “Gladiator,” “Dune: Part Two” and “Lord of the Rings: The Return of the King.” Directed by French filmmaker Jacques Audiard, the film has garnered criticism for its problematic portrayal of Mexican culture, trans identity and the glamorization of cartel violence through the story of a cartel leader who undergoes gender-affirming surgery to evade capture.
One glaring issue lies in the casting choices. The absence of Latin American talent in key roles— both in front of and behind the camera—is inappropriate given the film centers on Mexican culture. Jacques Audiard, known for his French films, admitted in an interview that he made no effort to cast Latin American actors or delve deeply into the cultural context of his story. Furthermore, casting director Carla Hool suggested a lack of suitable Mexican talent as a reason for the mostly non-Mexican cast, a statement that has been met with significant backlash. Adding insult to injury is the film’s poorly translated script, which shows the filmmakers’ disregard for cultural authenticity. Sloppy translation and inaccurate dialogue strip the story of any meaningful connection with the communities it depicts.
The transphobia in the premise further damages the film’s credibility. While the representation of transgender characters in media is important, “Emilia Pérez” uses the concept of gender-reassignment surgery as a plot device. This reinforces harmful stereotypes by perpetuating misconceptions about the motivations behind transitioning. Rather than providing thoughtful representation, the film exploits the community for shock value.
Furthermore, the portrayal of cartels is also quite disturbing. Cartels are responsible for immense violence, trauma, and suffering in Mexico, and attempting to create a sympathetic narrative for a cartel leader undermines the harsh realities of these organizations’ actions. How can audiences be expected to forgive or root for a character whose backstory is steeped in the horrors of cartel violence? The treatment of such a serious issue shows a deep lack of respect for the real-world consequences of organized crime.
Beyond its numerous controversies, “Emilia Pérez” fails even on a basic artistic level, with its awkward tonal shifts and forgettable songs. The film seems to have a continual identity crisis, oscillating between a dark, crime-centered drama and a lighthearted musical comedy. Along with creating a jarring watching experience, it also undermines any potential emotional weight, making it difficult for audiences to connect with the story. In a good musical, the songs are meant to bridge the narrative and convey the character’s thoughts and emotions in a natural way. Here, the songs feel uninspired and are not used to enhance the plot or deepen character development, making the film even less coherent.
“Emilia Pérez” does not deserve the 13 nominations it received, and the fact that it is held in such high regard weakens the credibility of the Oscars as a whole. Instead of celebrating a movie that disregards the very people it “represents,” recognition should go to films that respectfully portray Latin American culture. There are countless Latin American filmmakers and stories that deserve the spotlight—and it is disappointing that this is the movie that got picked to be awarded.