Given the Trump administration’s assault on transgender rights, ‘Emilia Pérez’ has started a culture war. But, when the star is demonising marginalised groups even while championing one, things don’t look that good
For a time, Emilia Pérez seemed unstoppable. With 13 Academy Award nominations, the Spanish-French musical crime drama had positioned itself as a major contender for ‘Best Picture.’ But the film’s lead actress, Karla Sofía Gascón, finds herself at the centre of controversy. Accusations of Islamophobia, racism and xenophobia stemming from resurfaced social media posts have cast a long shadow over both her and the film, leaving its Oscar prospects in question.
Inflammatory remarks
Gascón’s earlier comments, dating back to 2016, include inflammatory remarks about Muslims, insensitive comments about George Floyd, and a dismissive take on the Academy Awards. The Spanish actress has, however, denied being racist, and alleged that the unearthed posts were a part of a smear campaign against her.
In the face of mounting criticism, Gascón has been removed from the film’s U.S. Oscar campaign, and all planned appearances in Los Angeles have been cancelled. Netflix, which holds the film’s distribution rights, is said to be distancing itself from her.
Film critic Ayaan Paul feels the Academy has been spared an embarrassment. “The Oscars don’t necessarily reward the best films, but the ones that dominate the conversation. For a brief and terrifying moment, the possibility of Emilia Pérez winning Best Picture felt very real. Netflix’s relentless campaign had all but sealed its fate – until the controversy dismantled its momentum.”
A film that divides
Even before the Gascón controversy, Emilia Pérez was not without detractors. The film follows a Mexican cartel leader (played by Gascón) who fakes death, transitions and reinvents themselves as an advocate for victims of cartel violence. While it was hailed as groundbreaking by some quarters, others found it deeply problematic. The LGBTQ rights group GLAAD condemned it as “a profoundly retrograde portrayal of a transwoman,” criticising its regressive tropes and reduction of trans identity to a sensationalised narrative.
Additionally, the film’s depiction of Mexico has drawn ire. Many have accused director Jacques Audiard of relying on tired stereotypes of cartel violence while failing to employ a significant Mexican cast or crew. Mexican audiences have been particularly vocal about the film’s detachment from authenticity. Screenwriter Héctor Guillén summed up the sentiment on X: “This is a message to the Academy: Mexico hates Emilia Pérez.”
Oscars: Art or Public Relations war?
The Gascón controversy highlights the struggle between recognising art and managing public perception. As sketch comedian Md Anas puts it: “Calling out Islamophobia, xenophobia and racist statements on such a significant stage reinforces the message that you cannot be a hate-monger and still expect to be honoured. The Oscars have become a PR-driven battleground, where success depends on how effectively a film can sway public opinion. The decisions often stem less from moral obligation and more from image management.”
Indeed, this year’s nominations reflect Hollywood’s ongoing engagement with political discourse, with films tackling themes of institutional racism (Nickel Boys), religious corruption (Conclave), and historical revisionism (The Apprentice). In this landscape, the fuss surrounding Emilia Pérez feels less like an anomaly and more like an inevitability.
Self-inflicted downfall
For all its missteps, Emilia Pérez might have weathered the backlash had its lead actress not been caught in a scandal of her own making. Gascón’s Cannes acceptance speech last May, in which she dedicated her win to “all trans people who suffer,” rings hollow in light of her earlier comments. Her defiant response to the controversy, in which she blamed unnamed enemies for “staining my existence with lies,” has only worsened the damage.
Independent film director Tushar Tyagi says, “When you’re an actor, you can land one gig and become a superstar overnight. However, if you come from a marginalised community, like Gascón, you need to be especially thoughtful about what you represent. It’s important to recognise that you can belong to one minority, but that doesn’t give you the right to disparage others. Unfortunately, we live in a world where most people struggle to separate art from the artist. It makes a huge difference if you’re an artist in a role that breaks barriers and achieves something significant, but in real life, your actions contradict that.”
Gascón’s earlier comments, dating back to 2016, include inflammatory remarks about Muslims, insensitive comments about George Floyd, and a dismissive take on the Academy Awards. The Spanish actress has, however, denied being racist, and alleged that the unearthed posts were a part of a smear campaign against her.
“If you come from a marginalised community, like Gascón, you need to be especially thoughtful about what you represent. It’s important to recognise that you can belong to one minority, but that doesn’t give you the right to disparage others.”
—Tushar Tyagi, filmmaker.
