With the Oscar nominations officially out, I couldn’t be happier that some of the biggest and most well-crafted movies of the year are getting the recognition they deserve. From the instant classic that is Wicked, to the sheer perfection of Dune 2, to the powerful commentary and striking imagery of The Substance, the hard work of every single person involved is finally being acknowledged — and I, for one, am living for it! Â
However, there was one obvious outlier: Emilia Perez. With a total of 13 Oscar nominations, it has become one of the most polarizing and baffling Oscar successes of all time. Â
Now, most people reading this have probably heard the name Emilia Perez – maybe through the news, or the endless online debates – but might not fully understand why it’s getting such a mixed reaction or even what it’s about. So, let me break it down for you. Released on Netflix on Nov. 1, 2024, Emilia Perez is a musical crime thriller directed by Jacques Audiard. It follows a lawyer who takes on the case of a notorious Mexican drug cartel leader, only to find out that their real request isn’t legal counsel — it’s to help transitioning into a woman. As the lawyer assists in this process, she embarks on her own journey of self-discovery. Â
On paper, this concept sounds intriguing. With the right people behind it, proper research into the lived experiences of both immigrants and transgender individuals, and careful execution, it could have been a compelling and meaningful watch. Sounds doable, right? Â
Apparently not. Â
This film might be one of the biggest missteps in representing both immigrants and transgender women that I’ve ever seen on screen. Every harmful stereotype imaginable is perpetuated, wrapped up in some of the most cringeworthy musical numbers I’ve ever heard in a film. In fact, the worst part — according to the LA Times — is that despite its attempts to be unique, it ultimately “ends up like every other narco movie.” It’s painfully clear that little to no effort went into researching the subject matter, and even the director himself admitted that he had “no interest in depicting Mexico as it actually is.” The result? A poorly executed and, frankly, insulting film. The general audience seems to agree, with a 6.1 rating on IMDb and a 2.4/5 on Letterboxd (which, by the way, I have an unhealthy obsession with). Â
Now, what’s really interesting is the stark contrast between audience reception and critical response. Despite the backlash, critics have overwhelmingly praised the film. Kiko Martinez of the San Antonio Current wrote, “Emilia PĂ©rez pulls no punches with its incredible visuals and gender- and genre-bending bravado.” Meanwhile, Cris Kennedy of Inner East Review claimed, “French auteur filmmaker Jacques Audiard is doing so many things and isn’t afraid to try out ideas, or to put together a scene that serves a bigger ideal even if rough around the edges.” Â
See the disconnect? Critics are fixated on the film’s themes and the mere fact that marginalized groups are being depicted on screen, rather than analyzing how those groups are actually being represented. This gap between critics and audiences is at the core of so much Oscars discourse, and Emilia Perez is a prime example. It’s clear the film isn’t resonating with the public, yet it’s being showered with accolades it simply doesn’t deserve. Â
Which brings us back to the central question of this article: Does Emilia Perez deserve all this critical acclaim? Â
Everyone is entitled to their own opinion, but to me, the answer is a resounding no. We need films that are well-researched, authentic, and genuinely representative of marginalized communities. We need real, lived experiences of transgender women portrayed with care and nuance. We need to acknowledge the daily struggles of immigrants and work toward dismantling harmful stereotypes — not reinforcing them. We need films that allow people to feel truly seen. Â
So many Oscar nominees this year succeeded in doing just that. But Emilia Perez? Not even close.