MEXICO CITY (Reuters) – The film "Emilia Pérez" is facing increasing backlash as it garners attention during the awards season, including 13 Oscar nominations, sparking discussions about representation and authenticity. The controversy has paved the way for the release of the parody short film "Johanne Sacreblu," reflecting the local response to what is seen as insensitivity toward Mexican culture.
Directed by Jacques Audiard, "Emilia Pérez" tells the story of a Mexican cartel boss’s transition, which has drawn criticism for its portrayal of trans identity, poor use of Spanish, and lack of Mexican cast members. Critics argue it presents Mexico through a Eurocentric lens, trivializing serious issues such as forced disappearances, which affect over 100,000 individuals in the country.
The backlash reached new heights when audiences complained to the marquee cinema chain, Cinepolis, resulting in federal consumer watchdogs intervening to clarify refund policies after viewers walked out of screenings. The film's lead, Karla Sofía Gascón, recently faced scrutiny for her past social media posts, which added to the negative sentiment surrounding the production.
Responding to this outrage, trans filmmaker Camila Aurora launched the crowd-funded "Johanne Sacreblu," showcasing the story of Johanne, a trans heiress to France’s biggest baguette producer and her quest against racism through love. Launched on January 25, 2025, the musical short film quickly amassed over 2 million views online, evoking laughter and applause for its humor and social commentary.
Aurora announced partnerships with clothing brand Máscara De Látex, creating themed merchandise featuring quirky designs from the parody. Proceeds are pledged to organizations aiding families of the missing and endangered populations within Mexico. Such moves have bolstered community support for the parody, painting it as not just entertainment but also as activism.
Upon its release, "Emilia Pérez" initially seemed to gather traction during its stint at the Cannes Film Festival, winning awards and securing Netflix distribution. Yet, as critics began unpacking its cultural missteps and the apparent disinterest from its French creators, audience support began to wane. Despite acclaim from certain industry circles, the general public remained unconvinced, as reflected by its contrasting scores on review platforms.
Trans activist and filmmaker Aurora’s response with "Johanne Sacreblu" has opened avenues for dialogue on how Latin American stories are told and perceived globally. Commenting on her success, Aurora stated, "It sends a powerful message: Don't mess with Mexico," emphasizing the importance of authentic representation. The film has come to symbolize local resistance against portrayals deemed offensive or superficial.
Many fans are taking to social media to express their thoughts on both films, with some humorously declaring "Johanne Sacreblu" as the authentic representation of French culture and playful critiques of "Emilia Pérez." Aurora’s film capitalizes on themes of love and unity, juxtaposing the heavy undertones present within its predecessor. Its success positions it as not merely comedic relief but as a poignant counter-narrative.
The film "Emilia Pérez," meanwhile, speculates whether it can reclaim audience favor as it heads toward the Academy Awards amid extensive scrutiny. The upcoming guild awards, including Screen Actors Guild (SAG) and Producers Guild (PGA), will be testing grounds to determine its fate as critics increasingly voice concerns over its cultural validity and representation.
With this growing cultural schism, the future remains uncertain as to whether "Emilia Pérez" can overcome its current challenges and retain its Oscar frontrunner status or if the momentum gained by parody efforts like "Johanne Sacreblu" will redirect audience attention toward more authentic portrayals of marginalized voices.