The 2025 Oscars have been marred by controversy, primarily revolving around the nomination of Karla Sofía Gascón, who has made history as the first openly transgender actor up for the Academy Award for her role in the film Emilia Pérez. Despite facing intense backlash for her past social media interactions, Gascón has publicly declined to withdraw her nomination, prompting discussions about the impact of social media on award campaigns.
The firestorm ignited when journalist Sarah Hagi brought to light several of Gascón's past posts, which included derogatory comments about Muslim culture and controversial remarks on George Floyd’s death. One particularly inflammatory statement referred to Floyd as a "scammer drug addict." The public scrutiny intensified as some perceived her posts as racist and xenophobic, raising questions about her suitability for the honors associated with her ground-breaking nomination.
Throughout the tumult, Gascón defended herself, stating, "I cannot step down from an Oscar nomination because I have not committed any crime nor have I harmed anyone." She maintained her innocence against the allegations of racism, emphasizing, "I am neither racist nor anything...that all these people have tried to make others believe I am."
Gascón's statement continued, expressing regret for any pain her posts may have caused. "I want to address the conversation around my past social media posts...I deeply regret having caused pain," she said. This acknowledgment, paired with her refusal to step back from the nomination, has put her at the center of not only personal but also public scrutiny.
The film Emilia Pérez itself attracted controversy, viewed as provocative and even offensive by some audiences, particularly within Mexico. The narrative follows a drug trafficker exploring gender reassignment surgery, embellishing the film's polarizing nature. Director Jacques Audiard defended the artistic intent behind Emilia Pérez, indirectly acknowledging the backlash by stating to CNN en Español, "If there are things...that seem scandalous to Mexicans...I apologize."
Initially favored to win, many now question if Gascón’s film can maintain its previous momentum at the Oscars. The considerable backlash has left the Oscar race shrouded in unpredictability. Once hailed as the frontrunner with 13 nominations, including Gascón’s historic nod, Emilia Pérez faces potential voter hesitance as Academy members may shy away from supporting projects linked to the controversies surrounding their stars.
The ripple effect of Gascón's predicament poses risk not only to her nomination but potentially to her co-stars as well. According to reports, Zoe Saldaña, who stars alongside Gascón, rushed to distance herself from the controversy without throwing her co-star under the proverbial bus. With growing tensions, the integrity of the film and its chances at the Oscars could be compromised.
The Academy has strived to create a more liberal image over the years, and the emergence of these old posts from Gascón puts them back at square one, forced to grapple with the optics of having supported such contentious perspectives. A source familiar with the voting process expressed concern about how Gascón's statements could affect her competitors, stating they might hesitate to vote for Emilia Pérez due to fears of being perceived as excusing bigotry.
The Oscars have historically walked this tightrope, balancing artistic merit with the view of societal norms and tolerance. While Gascón has become emblematic of this dispute, other films, such as The Brutalist and I'm Still Here, have faced their own controversies this season, contributing to the overall turmoil of the 2025 Oscars. Between accusations of using AI for creative processes and previous scandals resurfacing, this year’s awards show will likely feature winners judged not only on artistic merit but on their ability to navigate current social landscapes.
The overwhelming chaos leading up to the Oscars raises relevant questions about the future of awards campaigns. This timeline of events challenges filmmakers and stars to reconsider how they present their narratives to audiences, be it through social media or other public platforms, and whether their past might haunt their present. Gascón’s situation poses broader existential questions about the Academy: will they continue to reward films based on artistic achievements, or will they allow past missteps to dictate their choice of winners?
The stakes are high as the world anticipates the March 2 ceremony. With every additional layer of scandal the race unravels, it suggests one certainty—like every Oscar season, this one is now rife with intrigue and, perhaps, injustice.