Victoria Ruffo, the renowned Mexican actress recognized for her lengthy career, is stepping back to weigh on the discourse surrounding Eugenio Derbez's recent criticism of Selena Gomez's performance in the film Emilia Pérez. The controversy has sparked significant media attention as Derbez described Gomez's acting as "indefendible," igniting mixed reactions among fans and industry insiders alike.
Ruffo, who is also Derbez’s ex-wife and the mother of their son José Eduardo, approached the topic with caution during interviews, presenting her views on the right to critique art. "Mira, yo creo que todos somos libres de comentar y tener una opinión con respecto a lo que sea... Yo, por ejemplo, cuando voy al cine, yo no voy como actriz, voy como espectadora, y me siento con la capacidad de poder decir si me gustó o no me gustó. Pero como espectadora; si te pones a criticar como actriz, pues yo creo que no debe ser," Ruffo articulated, highlighting the importance of respecting the roles of spectators versus critics.
What adds depth to her position is the distinction she draws: everyone has the right to express opinions about artistic works, but the basis of their critique can greatly affect its validity. This assertion seems gently directed at Derbez, whose sharp statements about Gomez's performance prompted widespread backlash from her supporters. While Ruffo emphasized she does not endorse all of Derbez's views, she firmly believes in the necessity of allowing people to voice their thoughts. "No es solidarizarme, creo que todos tenemos una boca y unos ojos y unos oídos y podemos decir lo que sentimos. No lo veo mal, vaya," she noted, reinforcing the freedom of expression.
Surprisingly, Ruffo admitted her unfamiliarity with Selena Gomez’s acting portfolio. “Nunca la he visto, conozco algo de sus canciones, pero nunca la he visto actuar en algo, no podría decirte si bien o malo,” she mentioned, which has led to discussions on social media about whether someone of her stature should be aware of Gomez’s body of work. Her admission raises intriguing questions about the artists' connectivity and public awareness, particularly within the entertainment industry.
The discourse surrounding Derbez and Gomez has not only drawn attention to the film but also spotlighted the differing expectations on public figures to engage with one another’s work. While some argue for mutual respect and acknowledgment of achievements, others believe criticism is part of the public dialogue necessary for artistic growth.
Ruffo took this opportunity to expand the conversation to broader societal themes, advocating for tolerance and empathy, especially as she perceives the world as increasingly chaotic. She stated, "Hay que ser felices y hay que entender a la gente y (todas) las situaciones. Está el mundo tan de cabeza por todos lados, que uno debe ser más tolerante y más accesible para todas las cosas." This heartfelt appeal for compassion is both timely and necessary as audiences absorb and react to the multifaceted dynamics of celebrity culture.
The exchange between Ruffo and the criticism by Derbez definitely adds another layer to the already complex nature of public criticisms made by artists about one another. While the audience continues to engage with the content provided—in this case, through the lens of Gomez's portrayal and Derbez’s responses—the importance of how these conversations are conducted remains at the forefront of the discourse.
The dialogue around praises and critiques featuring prominent figures like Derbez and Gomez serves to remind fans and audiences alike about the care we should take not just with our words, but with each other as human beings. Such discussions also reveal how interconnected the lives of celebrities can be, especially when intertwined with past relationships, like Ruffo's with Derbez. This layer of shared history makes Ruffo’s insights all the more poignant as they resonate with broader themes of empathy and equity.
