"Emilia Pérez": Critis
Diestand before, and “Emilia Pérez” leads the favorite list with 13 nominations - and the film crew has the chance of the coveted statue for the categories, among other things, best leading actress, best supporting actress and best sound.
And yet-or perhaps precisely because of all the attention-the criticism of the thriller musical is now accumulated in which a cartel boss wants to get out of business in order to finally be able to live as a woman. Rita, a successful criminal defense lawyer, is said to help him become Emilia Pérez. So far, so unusual - and also promising, with a cast that, in addition to Karla Sofía Gascón as a protagonist Emilia Pérez, also shines through Zoe Saldaña and Emilia Gomez. And yet the film is now made by some critics: now as "criticized the worst film of the year".
“Emilia Pérez”: The film serves this problematic stereotypical
For criticism about the film “Emilia Pérez”, three reasons are currently being prominently led into the field: 1. He reproduces problematic stereotypes about Latin America. 2. He represents the life of a trans* person through the lens of an CIS person and 3rd (as if that wasn't enough) he does not convince musically either.
Mexican stereotypes without Mexicans: inside
Jacques Audiard, the French director behind “Emilia Pérez”, said at the premiere in Mexico, he had treated the topics dealt with in the film “with as much sensitivity, modesty and empathy as possible”. A statement that some critics do not want to sign from the Latin American community inside. On the contrary, “Emilia Pérez” is almost an accumulation of Mexican clichés that have long methods in the film tradition of Hollywood. A cartel boss - check. Kidnapped people - check. One in yellow, alienating light dipped sepiafilter - check.
Shanna Besson
In addition, people who came from Mexico were extremely underrepresented on the direction and in the cast, and at a time when films such as “Sujo”, which was also submitted for an academy nomination but not selected, try to try authentic To produce stories about Mexico from the perspective of Mexican filmmakers.For example, in the course of this, it was also criticized for their bad Spanish, the “Emilia Pérez” for all native speakers: giving an artificial character on the inside.
PR
The critic Jack Hamilton also writes in theSlate Magazinethat the musical elements also made no institutions to show real Mexican culture. "In fact, the songs and film music, which were composed by the French songwriters: inside Camille and Clément Ducol, seem to ignore the famous musical traditions of Mexico."
PR
Stereotypical representation of a trans* person
Also from the-Community does not get a applause of “Emilia Pérez”. Glaad, a non-profit organization in the United States, describes the film, for example, as a “deeply returning representation of a trans* woman”. Fran Tirado explains which elements contribute to this in queer -orientedThem Magazine:
“Emilia exchanges the sexes, refuses to account for their lifelong bad behavior, and makes her wife and children under fraudulent preliminary prevalence to spend time with her. This is also the action of 'Mrs. Doubtfire ', but' Mrs. Doubtfire 'is a good film because he understands how absurd the figure is. Emilia Pérez doesn't know how absurd she is. Instead, your transformation is presented as an absolution, used as a means of deception and the reason for your redemption. It is an idea of trans* identities that comes from the CIS gauze.
PR
“Emilia Pérez”: A consolation price at the end
The criticism of “Emilia Pérez” is therefore overwhelming. Problematic stereotypes have been produced from the line -up to song compiso to post -production. And yet a very important and good decision by the Oscar Academy should not go under. Namely, that Karla Sofía Gascón was the first trans* woman ever nominated for the film award.
An important step, even if the discussion has to remain about how to represent trans* life better. And: How to tell cliché -free about a cultural space that is strange to you. However, this is not a question for the actors: inside, but to the screenwriter: inside, director: inside and producer: inside of this industry.
