French filmmaker Jacques Audiard defended and apologized for his film “Emilia Pérez” at its Mexican premiere Wednesday, addressing criticism surrounding its portrayal of drug trafficking and the nation’s crisis of missing persons.
Set to open in Mexican theaters next week, the film — which had 10 nominations and four wins at the Golden Globes Jan. 5 in Los Angeles — has polarized audiences with its narrative and casting choices.
At this week’s red-carpet event at the Auditorio Nacional in Mexico City, Audiard acknowledged the controversy, emphasizing that his intent was to portray Mexico’s social issues with empathy and caution.
The film, a narco-musical about a cartel leader’s gender transition, has faced backlash, mainly in Mexico, for the way it addresses sensitive topics, including the tens of thousands of forced disappearances in Mexico.
“The drama of the missing is something that shocks me deeply,” Audiard said. “It’s a tragedy that’s largely invisible outside of Mexico, and my goal was to generate dialogue, not offense.”
Despite careful research, Audiard admitted he might have failed to convey the issue sensitively enough. “If you think I approached it too lightly, I apologize,” he said, adding, “Cinema’s purpose isn’t to provide answers but to provoke questions.”
Criticism also stemmed from the film’s predominantly non-Mexican cast, with only one Mexican actress, Adriana Paz, in a leading role.
Audiard said the casting decisions were partly influenced by financial considerations. “The choice of Selena Gomez, Karla Sofía Gascón and Zoe Saldaña was strategic to secure funding,” he said, while expressing admiration for the vast talent within Mexico.
Saldaña won a Golden Globe earlier this month for best supporting actress, and when the film premiered at Cannes last year, all four leads shared the festival’s best actress award.
Gascón, a Spanish trans actress who plays dual roles as Emilia Pérez and her former identity, a male cartel leader named Manitas del Monte, defended her connection to the story.
“I feel more Mexican than a cactus,” she said, highlighting the complexity of her character’s transformation from a ruthless criminal to a remorseful figure.
The film’s critical reception has been mixed.
Although it won best film (comedy or musical) and best non-English motion picture at the Golden Globes, Mexican critics have called it out for its superficial treatment of serious issues. Writer Jorge Volpi, for example, criticized the film’s lack of credibility.
Meanwhile, director Guillermo del Toro praised its artistic merits, describing it as “cinema in its purest form.”
Audiard maintained that “Emilia Pérez” reflects an “interpreted reality” of Mexico, likening its operatic style to storytelling that resonates emotionally rather than literally.
He expressed pride in the film’s achievements — including 11 nominations when the British Academy Film and Television Awards (BAFTA) were announced Wednesday and possible Oscar contention when the Academy Awards nominations are announced next week, delayed a week by the Los Angeles fires.
The controversy extends beyond the screen, with Gascón revealing she has received death threats on social media. Audiard, who avoids social media, expressed dismay at the personal attacks.
“I spent over four years crafting this story about a country I deeply respect,” he said. “I was very careful. I didn’t want to offend Mexicans, to hurt anyone.”
Ultimately, he said, he hopes the film will foster greater awareness of Mexico’s struggles with violence and forced disappearances.
“If this work can spark conversations and questions, it will have achieved something meaningful,” he said.
“Emilia Pérez” already had its Mexican premiere in October at the Morelia International Film Festival.
Now, following its festival circuit success, including a Jury Prize at Cannes, and Nov. 13 Netflix release outside of Mexico, the 132-minute film will open in wide release in Mexico on Thursday, Jan. 23.
Even that is not without controversy. The film has received the “Cinépolis Guarantee,” a seal of approval from the Mexico-based theater chain. This, however, has led to debate, as well, with some criticizing not only the film but also Cinépolis’ decision to endorse it.
With reports from Infobae, El Financiero and EFE
