So, the whole “this year’s ‘Green Book’” descriptor is something I’ve seen come up a lot in the many criticisms around “Emilia Pérez” over the last several months. Truthfully, I walked out of the movie at the New York Film Festival last year feeling pretty great about it. The performances, two of which are now nominated for Oscars (Karla Sofía Gascón and Zoë Saldaña) are both really good. The story was unusual and interesting. The title character is a Mexican cartel leader (Gascón) who undergoes gender confirmation surgery to live her life as a fully realized woman, faking her death to her wife (Selena Gomez) and their children. Emilia decides to become an advocate for missing and murdered people in Mexico and recruits an unsatisfied lawyer (Saldaňa) to help. When Emilia later decides she cannot live without her children, Emilia finds herself dangerously contending with her past and present urges.
OK, that’s a mouthful and sounds absolutely ridiculous. And, at the time, coming out of the festival, that worked for me. But after reading and speaking to Mexican and trans journalists about their experiences watching the movie (this is a really good example), I found their criticism really valid and compelling — and it complicated all my thoughts around the movie. Everything from the authenticity of transitioning to the trivial way Mexico and femicide in the country is treated in the film. It has some merit, mostly its performances, but still. Add to the issues, this is a movie made by a white, cisgender and French male director (Jacques Audiard, also nominated) that has been arguably marketed to European and white cisgender American audiences — with no Mexican or trans consultants. (Gascón, who is Spanish and a trans woman in real life, did tell The Hollywood Reporter that she pushed back on some truths in the movie, and Audiard was receptive to them, which was undoubtedly helpful. But clearly, the movie needed more.) Thus, “Emilia Pérez” became one of those movies that was categorically problematic for me — and clearly many others who are actually in the community.
Earlier I mentioned how some movies can be about you but not for you, and I think that’s where some folks in the trans and Mexican communities are coming from when they described this movie as another “Green Book.” — Candice
Can we also talk about how I didn’t think the songs were any good? Like, why was this a musical? I know I’ve already said I don’t even like musicals for real, but this seemed like a poor choice. That’s really all I have to add. — Erin
YES, ERIN! I also question the choice to make it a musical. The songs were very unmemorable. A few of the numbers I did think were well-choreographed. But yeah, very questionable decision to make this a musical, on top of the many, many problems with this film.
Candice, great summary of the conversation around this film. I was entertained by it, but didn’t love it (and similarly to “Nickel Boys,” though not to the same degree, was confused by the raves for the movie). Then, like you, I started reading more reviews from trans and Mexican journalists and critics, and now, I’m even more baffled by the raves. I especially don’t love that this is likely going to run away with the Best International Film Oscar, over several more deserving nominees. It’s especially galling given the very problematic and trope-y way the film portrays Mexico and Mexican culture, which are so integral to the story. — Marina
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