The French-Spanish musical film Emilia Pérez, directed by Jacques Audiard, has quickly become one of the most polarizing cinematic releases of 2025. Despite its record-breaking 13 Oscar nominations and praise from industry elites, the film has ignited outrage among Mexican and Latino communities, LGBTQ+ advocates, and cultural critics. At the center of the backlash are serious allegations of racism, cultural insensitivity, and the perpetuation of harmful stereotypes. Below is a clearer look at the main issues driving the controversy.

1. Cultural Appropriation and Inauthentic Portrayals

The film’s story follows a Mexican cartel leader who transitions genders and seeks redemption—a concept that critics argue is presented through a decidedly Eurocentric perspective. Although directed by Jacques Audiard, a French filmmaker who does not speak Spanish, the movie was primarily shot in Paris with little input from Mexican creatives. Audiard himself admitted he “didn’t study Mexico much” and based his work on superficial research. This approach resulted in glaring inaccuracies, such as using the term “cárcel” (rarely used in Mexico) for prison signage instead of the more appropriate “penitenciaría.”

Mexican critics have compared the film to a “21st-century minstrel show,” accusing it of exploiting deep-seated cultural trauma for entertainment. One particularly controversial scene features a child singing about “mezcal and guacamole,” a moment many denounced as a “Speedy Gonzales-level” caricature of Mexican culture. The casting decisions also drew fire: lead actors Karla Sofía Gascón (Spanish), Zoë Saldaña (Dominican-Puerto Rican American), and Selena Gomez (Mexican American) were criticized as poor representatives of authentic Mexican talent. The casting director’s claim that no suitable Mexican actors could be found was widely ridiculed.

2. Language and Accent Issues

The Spanish dialogue in Emilia Pérez has been criticized for its awkward translations and linguistic errors. For instance, the song “Mi Camino” uses the phrase “séptimo cielo” as a direct translation of “seventh heaven,” an expression that is unfamiliar to many Spanish speakers. Other lines in the film sound like the result of a “botched Google Translate” experiment. Selena Gomez’s Spanish pronunciation became a particular point of contention; Mexican actor Eugenio Derbez labeled her accent “indefensible” and argued that her delivery lacked the necessary nuance. Although Gomez apologized, the incident underscored broader concerns about Hollywood sidelining native speakers.

3. Problematic Portrayal of Trans Identity

While Emilia Pérez was celebrated for featuring the first openly transgender Best Actress nominee in Karla Sofía Gascón, LGBTQ+ advocates have condemned the film’s portrayal of trans identity. The narrative fixates on surgical transition in a manner that some critics describe as “carnivalesque,” reducing Gascón’s character to her anatomy. A particularly controversial song, “La Vaginoplastia,” features lyrics such as “Penis to vagina,” while the storyline suggests that Emilia’s transition is deceptive—fueling harmful stereotypes about trans individuals “hiding” their true selves. GLAAD denounced the film as regressive, and LGBTQ+ organizations notably excluded it from their awards.

4. Resurfaced Controversial Tweets by Karla Sofía Gascón

The controversy deepened when journalist Sarah Hagi uncovered a series of offensive tweets by Gascón. These tweets contained Islamophobic remarks (e.g., stating that Islam is “INCOMPATIBLE with Western values”), derogatory comments about George Floyd (describing him as “a drug addict and a scammer”), and criticisms of Oscar diversity, which she referred to as an “Afro-Korean festival.” Although Gascón denied some of the claims (including one about an alleged tweet attacking Selena Gomez) and issued a vague apology, she refused to withdraw her Oscar nomination, stating, “I have not committed any crime.” Her co-star Zoë Saldaña expressed her disappointment, calling the remarks “sad” and contrary to the film’s intended message.

5. Supporters and the Larger Debate

In contrast to the critics, several high-profile figures, including James Cameron and Guillermo del Toro, defended the film’s bold storytelling and Gascón’s performance. Audiard described his vision as an “opera” meant to spark discussion, and Mexican actor Adriana Paz—one of the few cast members from Mexico—went so far as to call him a “genius.” However, detractors maintain that Emilia Pérez exemplifies Hollywood’s recurring tendency to prioritize white, Eurocentric narratives over genuine cultural representation. As Mexican filmmaker Camila Aurora humorously noted in her parody Johanne Sacrebleu, the industry often reduces marginalized cultures to mere exotic backdrops.

Conclusion: A Reckoning for Hollywood?

The saga of Emilia Pérez highlights deep-rooted issues in the film industry, including cultural exploitation, tokenistic diversity, and a disconnect between the Academy and global audiences. Even if the film goes on to win multiple Oscars, its legacy will likely be overshadowed by persistent accusations of racism and erasure. As Latino critics emphasize, true representation goes far beyond casting—it demands that marginalized voices be at the forefront of storytelling, production, and critical discussion. Until this happens, Hollywood’s claims of progress may remain little more than a performative facade.