Oscars 2025: Emilia Pérez's Downward Spiral

Where to begin with the implosion of Emilia Pérez‘s Oscar prospects?

Despite Zoe Saldaña continuing to be a strong contender for the Best Supporting Actress Oscar at the 97th Academy Awards on March 2, and the French musical film in a foreign language potentially winning the Best International Feature Film award, the prospects of Emilia Pérez being declared Best Picture have become increasingly uncertain.

Similar to how political frontrunners may face setbacks on their path to success, often fueled by social media nowadays, Emilia Pérez’s 13 nomination leading position has undoubtedly made her a target.

Just as political front-runners might encounter challenges along the way, driven mostly by social media these days, Emilia Pérez’s 13 nominations have clearly put her in the line of fire.

However, during an awards season marked by numerous controversies, _The Brutalist_ employed AI to refine Adrien Brody and Felicity Jones’ Hungarian dialogues. Best Actress nominee Fernanda Torres apologized for her use of blackface in a 2008 comedy sketch. The cast of _Anora_ opted against employing an intimacy coordinator, a decision that intimacy coordinators believe sets a negative example. Emilia Pérez has been at the center of most of the scandals this season.

The fact that Karla Sofia Gascón, the groundbreaking Best Actress nominee for the movie, felt compelled to confirm her attendance at the awards ceremony held at Hollywood’s Dolby Theatre amidst various challenges, clearly demonstrates that the Oscar campaign is running out of steam.

However, one may wonder precisely when the Netflix film’s success started to significantly decline after its triumphant premiere at the 2024 Cannes Film Festival in May, where it garnered the Grand Jury Prize and featured stars such as Gascón, Saldaña, Selena Gomez, and Adriana Paz for the first time, all of whom were honored with the Best Actress award.

In a recent interview with Deadline on February 5th, director Jacques Audiard conceded that the responses he’s receiving now aren’t the same as they were initially.

That can be attributed to a litany of reasons, though some more than others:

Year after year, it’s been noted by critics that the Academy of Motion Picture Arts and Sciences often fails to honor the very best films at the Oscars, whether they are top-grossing blockbusters, widely adored by fans, or simply outstanding productions.

From the outset, Emilia Pérez captivated audiences with a diverse range of melodies they couldn’t help but sing along to, despite her initial acclaim.

On the review site Rotten Tomatoes, it was given a respectable 72% fresh rating. However, its audience score, or Popcornmeter rating, currently stands at 16%. It’s uncertain to what extent this figure has changed following any controversy.

Initially, when the movie premiered in November 2024, popular opinions leaned toward positive. The unique plot revolving around a merciless cartel leader who pretends to die and goes through gender reassignment surgery (depicted vividly in an unconventional musical that blurs genres) was both imaginative and daring. Notably, transgender actress Karla Sofía Gascón played the lead role at a time when transgender rights were facing increasing threats globally.

But the takes soured for a variety of reasons.

Although the movie is based in Mexico, it was predominantly filmed in France – a nation that would celebrate a triumph if Emilia Pérez were to receive the award for Best International Feature Film at the Oscars.

The director of the movie, Jacques Audiard from France, who wrote the original libretto (loosely based on a 2018 novel “Ecoute”) and adapted it into the screenplay, has confessed that he didn’t delve deeply into the country’s history for research. Interestingly, while Adriana Paz is from Mexico City and Selena Gomez is of Mexican-American descent, many of the film’s main actors are not of Mexican heritage. For instance, Zoe Saldaña hails from Puerto Rico and Dominican Republic, Gascón is Spanish, and Edgar Ramirez is Venezuelan.

Armchair critics were eager to knock Gomez’s Spanish-speaking, as well.

The celebrity elegantly replied on Instagram, “With the time I had, I gave it my all in this film. That doesn’t diminish the effort and emotion I invested.

Critics from Mexico disapproved of the portrayal in the musical of the infamously brutal drug culture, as they found it distasteful that the production chose to dramatize this sad and ongoing aspect of their nation’s social and political situation.

The main character portrayed by Gascón in the movie, who abandoned his previous life as the murderous drug lord Juan “Manitas” Del Monte, has also faced criticism for reinforcing the harmful stereotype from old Hollywood that transgender individuals are either villains, killers, or mentally unstable. In November, GLAAD described this representation as “deeply regressive” and a “step backward.

As a passionate fan, I couldn’t help but express my thoughts after watching the movie upon its release in January, as a psychology student named Areli Vázquez, aged 24. I shared with the Los Angeles Times that the film left me without a clear understanding regarding the narcos, trans issues, and the disappeared. Instead, it seemed to provide only a shallow perspective on these important matters. Similarly, retired school teacher Carmela Espinoza, at 67 years old, echoed my sentiments, stating that the film was offensive and disrespectful towards Mexicans.

In my perspective as a dedicated follower, Gustavo Arellano, the columnist for LA Times, expressed his thoughts in a January 23rd piece that Mexico City, one of the world’s magnificent cities, was portrayed as merely interior settings and taco stands by director Audiard. Given that he primarily filmed his movie on sound stages in France, this reduction is not surprising. Additionally, I can comprehend why GLAAD is disappointed with Audiard for transforming a deeply personal decision like transitioning into a scene reminiscent of the beloved TV show “Crazy Ex-Girlfriend.” This segment, complete with bandaged patients shouting ‘Vaginoplasty!’ and ‘Penoplasty!’, mirrors the style of that program.

Previously responding to criticism, Audiard communicated to CNN en Español during a January 15 interview that if aspects of the film “Emilia Pérez” appear shocking, he regrets it. He stated, “Films don’t offer solutions, they merely pose questions…However, perhaps the questions posed in Emilia Pérez are misguided.

Gascón, on the other hand, countered the film’s detractors by encouraging them to produce their own movies. She stated in an interview with Vanity Fair in December, “Being LGBTQ or bearing those labels doesn’t make you any less stupid, just as heterosexuality doesn’t exempt anyone from being foolish.” What she finds troubling is that those who make such comments are presumably idle at home…Go ahead and generate the representation for your community that you desire.

In the meantime, none of those factors kept the film from earning numerous awards, even garnering a record-breaking 13 Oscar nominations.

In an interview, Audiard expressed his surprise to Deadline on February 5th, stating that either people misunderstood the movie or they haven’t watched it at all, and are being misleading. The portrayal of cartels in the film is symbolic rather than a central focus. There’s only one scene that directly addresses this topic.

Opera, as he pointed out, demands a high degree of artistic flair. He appeared to suggest that he was under critique for not adhering to realism. However, it’s important to note that he has never asserted that his intention was to create a realistic piece.

According to Audiard, if there was any regret, it stemmed from the fact that they didn’t shoot the movie in Mexico; however, the financial prospects were more favorable in France.

In the midst of the confusion that followed, Gascón initially caught people’s attention with a January 21st video interview she gave to Brazil’s Folha de S. Paulo newspaper. During this interview, she criticized organized online campaigns directed at Emilia Pérez, and it appeared as though she was implying that supporters of fellow Best Actress nominee Fernanda Torres were involved in one of these campaigns.

Gascón expressed disapproval for social media teams who attempt to undermine the work, such as hers and Emilia Pérez’s movie, because it doesn’t contribute anything positive. She stated that instead of tearing someone else’s work down, it’s more productive to uplift it. Gascón clarified that she has never spoken ill of Fernanda Torres or her movie, but some individuals working with Fernanda Torres have been criticizing hers and Emilia Pérez’s work. This, in her opinion, reflects poorly on their production rather than hers.

2025 Oscar nominations were revealed on January 23, with Gascón and “I’m Still Here” actress Torres, Demi Moore from “The Substance,” Mikey Madison of “Anora,” and Cynthia Erivo from “Wicked” all competing for the Best Actress award.

Based on the academy’s code of conduct, Gascón’s remarks about supposed backstage maneuvering did not breach any regulations. Critiquing another actress’ acting in the movie “I’m Still Here” or the film itself would have been against the rules.

Despite some confusion, Gascón made her intentions clear in a statement to Variety on January 29th. She expressed her admiration for Fernanda Torres, stating that she’s enjoyed getting to know her over the past few months. Her recent comments were in reference to the toxicity and hate speech on social media that she has unfortunately encountered. Fortunately, Fernanda has been a great ally, and those directly connected with her have only been supportive and incredibly generous.

Just wanted to inform you that Academy members were required to submit their votes for the 2025 Oscar nominations by January 19 (following several delays due to the L.A.-area wildfires). However, the final voting period for selecting winners was extended until February 18.

In January, when Emilia Pérez clinched the Golden Globe Award for Best Motion Picture (Musical or Comedy), Gascón voiced his advocacy for underrepresented communities.

In simpler terms, Gascón stated, “Light ultimately triumphs over shadow,” emphasizing that despite any attempts to imprison or harm us, they cannot seize our spirit, our resilience, or our honor.

“Raise your voice,” the 52-year-old continued. “I am who I am. Know who you [are].”

With that strong letter of recommendation, Gascón appeared to be the perfect choice to boost Emilia Pérez’s chances during the Oscar voting period. However, just a week after she made history as the first openly trans person to receive an acting Oscar nomination, issues from her own online past surfaced and caused trouble for her instead.

On January 30th, Canadian author Sarah Hagi shared several images of old tweets supposedly written by Gascón, which read on topic X: “It’s unbelievable that Karla Sofia Gascón still has these tweets. I have never seen such racist tweets from someone who is actively competing to win an ACADEMY AWARD. There are more than a dozen of them…” (The tweets were in Spanish, and Hagi provided English translations alongside them.)

I myself have unearthed tweets (from the time it was still known as Twitter), expressing disrespectful opinions about George Floyd, one advocating for a ban on Islam, and more critiques leveled at the perceived inadequacy of Muslim integration within my homeland, Spain.

In addition, Gascón took to Twitter in 2021 to critique the Oscars, stating that the ceremony seemed to be for independent and protest films. He questioned if he was watching a festival celebrating Afro-Korean culture, a Black Lives Matter rally, or the 8M event. He also found the whole affair quite unattractive.

Gascón deactivated her X account and issued an apology through Netflix: “Being part of a marginalized group, I understand this pain all too intimately, and I deeply regret any harm I may have caused. Throughout my life, I’ve strived for a better world, and I truly believe that light will prevail over darkness.

But Gascón didn’t stop at her Netflix-sanctioned statement.

She expressed that due to a continuous stream of hateful and false comments, she has chosen to close her account on X, as it’s become too distressing for her and her family. In a statement made to The Hollywood Reporter on Jan 31, she also mentioned that she has been subjected to death threats, verbal abuse, and harassment that have left her feeling drained. Above all, she cherishes her daughter deeply, and she wants to protect her from this negativity.

She’d consistently employed social media platforms as a sort of personal journal, reflections, or jottings. Later, she’d transform these into stories or characters, not expecting them to be closely analyzed, including the intricacies of each 140-character post, because at times, even she wouldn’t recognize if she had written something unfavorable herself.

Gascón stated that she had consistently advocated for every minority group in existence and fought against oppression. She acknowledged that on occasions, her words might not have been accurate, either due to lack of knowledge or unintentional mistakes. “I apologize once more if anyone has ever taken offense to my words or may take offense in the future,” she added.

Additionally, she suggested that the reappearance of her tweets was strategic, implying that her achievements have sparked significant discomfort among many individuals in the world.

As a steadfast supporter, I’d rephrase Gascón’s statement as follows: “Gascón stated, ‘It’s evident that there’s something sinister at play. Yet, let me assure you, the harder you try to undermine me, the more resilient I become. The sweeter the eventual triumph will taste.’

Gascón clarified that he never referred to Gomez as a “wealthy rodent” in a tweet, also distancing himself from an image circulating online which appeared to suggest that he had commented on a story debunking rumors of a conflict between Gomez and Hailey Bieber.

In a February 2 interview with CNN en Español, Gascón stated emphatically, “It is not something that belongs to me, of course.” He also emphasized, “I have never made any comments about my co-star, and I would never speak of her in such a way.

As a fervent advocate, I unequivocally denounce any hate speech or discriminatory attitudes towards any community of people. This is the stance I proudly uphold.

But she couldn’t help feeling “sad” that Gascón’s tweets were overshadowing the film.

Saldaña expressed, “Over and over, it’s the feeling I carry within me, as this has been my sentiment since the events unfolded,” she said. “I am also disheartened. I can only express what I feel, not judge others’ actions. My truth is my own, and I never imagined we would find ourselves in this situation.

In her remarks, the star of “Avatar” acknowledged that the team’s success allowed her to continue feeling the joy, yet emphasized that each member is an individual accountable for their words and actions.

At the Santa Barbara International Film Festival, where both Gomez and an unpresent Gascón received the Virtuosos Award, Gomez expressed that “a bit of the enchantment seems to have faded” since the movie’s premiere.

She expressed her contentment and gratitude for her past achievements during a February 9 panel, stating, ‘I have no regrets and if given the chance, I’d gladly reprise this role.’

In simpler terms, during the February 13th episode of “The Town”, Netflix’s Chief Content Officer Bela Bajaria expressed that Gascón’s tweets were quite disappointing for the hundred exceptionally talented individuals who produced a truly outstanding film.

In response to accusations that the streamer failed to thoroughly assess the talent before featuring Gascón prominently, Bajaria stated that their awards team had run an exceptional promotional campaign for that movie. She also mentioned that several industry professionals were reconsidering their approach when it comes to examining personal social media profiles.

However, Bajaria stated, “Given all I know now, I would still purchase that movie today… Truly remarkable.

Audiard, however, did not hide his disappointment in a Feb. 5 interview with Deadline.

Reflecting on my collaboration with Karla Sofia, it’s not easy to recall the genuine bond we shared and the unique environment we cultivated, rooted deeply in trust. However, when I encounter words from her that are filled with hate and intolerance, it undeniably impacts our relationship. It’s like stumbling into an unexpected pitfall because such sentiments from Karla Sofia are unforgivable.

He hadn’t talked to her since the scandal erupted, he said, nor did he care to.

In his words, “She appears to be following a destructive path that I can’t intervene in. Frankly, I just don’t comprehend why she persists in this behavior.

He also pointed out that it wasn’t merely detrimental to herself, but rather she was causing harm to the entire crew and everyone who had put so much effort into this film. He mentioned himself, Zoe, and Selena specifically, expressing his confusion as to why she persisted in hurting them. At present, he chose not to contact her because she needed time for introspection and acknowledgment of her actions.

Without a doubt, Gascón’s popularity during the awards season came to a halt earlier than expected, causing her to miss out on attending the Critics Choice Awards, BAFTAs, and SAG Awards.

She was present at the César Awards in France on February 25th, and she intends to appear at the Oscars on March 2nd, as reported by CNN. However, it’s uncertain whether she will pause for red carpet interviews during the event.

Despite some negative media coverage, Saldaña remains the front-runner for the Best Supporting Actress award. Meanwhile, Emilia Pérez could potentially secure the Best International Feature Film category, given its previous wins at the Golden Globes and BAFTAs on February 16. Additionally, it has a chance to win in the Best Original Song category, as it’s been nominated for both “El Mal” and “Mi Camino.

If only three out of its thirteen nominations result in victories, it’s performing better than some – for example, Martin Scorsese has directed three films that didn’t win any awards despite being nominated ten times each (In the three-for-13 club, it would align with The Curious Case of Benjamin Button).

As a dedicated follower of cinema, I must say that the competition for Best Picture has certainly kept me on my toes lately. Notably, “Anora” clinched the similar title at the Producers Guild of America Awards on February 8th, while “Conclave” snatched the Best Film award at the BAFTAs and Outstanding Performance by a Cast in a Motion Picture at the SAG Awards on February 23rd. These victories have added an interesting twist to the race for cinema’s highest honor.

It feels like a distant memory now, the victory of “The Brutalist” as the Outstanding Motion Picture, Drama, at the Golden Globes, not to mention Emilia Pérez’s win in the musical or comedy category – it all seems so far back.

2025-03-01 16:19

Oscars 2025: Emilia Pérez’s Downward Spiral

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