When “Emilia Pérez” was first released on Netflix in November, I wanted to be excited about it. As Latina, who has completely dedicated my livelihood to tell the stories that depict my community and look carefully, I really wanted to take this movie.
If you look at the awards nominations, you have broken barriers and made greatness. At the 2024 Cannes Film Festival, He won the jury award and the first award for Best Actress For a group. He – she He received 10 Golden Globe nominations – The house took four wins. also Oscar nominationsIncluding the best image and best actress of Carla Sofia Gascon, who made her the first public transient actress to be nominated for an Academy Award.
Then, the film was hit with the controversy around it Previous offensive social media functions in GascónAnd the movie eventually did not take Oscar for the best image (although Zoe Saldaña won the best support actress). From the beginning, I could not give “Emilia Beers” support. Ultimately, the film – directed by Jack Odiad, a French white man – perpetuates stereotypes of Latin society. It is simply not the acting that we were fighting for; Instead of opening a new floor, the film reinforces tiring and retrieving bangs under the forefront of progressive.
It is simply not the acting that we were fighting for; Instead of opening a new floor, the film reinforces tiring and retrieving bangs under the forefront of progressive.
The film follows a lawyer (Saldaña), which helps the Lord Manitas agent (Gascón) to retire and move. But there are many aspects of “Emilia Pérez” that you feel deceptive, unreliable and openly. Instead of being a victory for diversity, the film plays like exaggerated caricatures, and leads to perpetuating the harmful stereotypes of Mexicans, transgender people, and even the broader Latin society. Instead of feeling proud, I found myself swinging in many scenes all over the movie.
To be honest, this was not a surprise to me. The struggle for acting in Hollywood was a long and exhausting journey for Latin people. For decades, we were marginalized, pattern, and we have been reduced to unilateral roles such as criminals, maids, and side characters. This is suitable for Hollywood’s long history of stereotypes of marginalized groups. In fact, the “Emilia Pérez” nominations feel that it reminds us when Denzel Washington won the Academy Award for Best Support Actor on “Training Day”, where he played a corrupt policeman, and when Haley Perry won “Monster’s Ball”, which included a controversial naked scene. These victories, too, felt that Hollywood only recognized the black actors when they made roles in crime or excessive sex. This is logical, given that 81 percent of the Academy of Arts and Animation Academy determined as white in 2022, according to Statista.
But return to interests with the movie. It was placed in Mexico, and there are dark moments all the time that the Mexicans depicted negatively and converted people while focusing again on the drug war in Mexico. In conjunction with written musical numbers and singing, photography feels that she feels vibrant – as if the director wanted to use marginalized identities as pillars of a scene instead of telling a story with a real depth. Critics in Foxand to cutOther publications chanted these concerns. He even called Galad the movie To represent the harmful beating.
In conjunction with written musical numbers and singing, photography feels that she feels vibrant – as if the director wanted to use marginalized identities as pillars of a scene instead of telling a story with a real depth.
Of course, I always support the lifting of Latin actors. But the casting was lost too. Selena Gomez plays the role of Manita’s wife, a Mexican citizen and is supposed to be fluent in Spanish-although Gomez is the third-generation American Mexican actress who is clearly American. As Latina with a Spanish broken myself, this is in no way to throw the shade in Gomez. But its dialect is painfully noticeable, and according to what it was reported to learn the Spanish of this role. Why not take advantage of this opportunity to raise the newly born Mexican actors, which rarely get an opportunity to shine in major Hollywood films?
Meanwhile, Saldana, the Domainine and Puerto Rico actress who broke the border in Hollywood, had incredible shows in wonderful films such as “Avatar” and “Guardians of the Galaxy”. As a fan of her work, it is almost an insult that this is the movie that he gets by Hollywood Elites.
The matter especially frustrated is that there are many Latin -led projects that have done incredibly representing our societies in an original, but they did not receive the recognition they deserve. I photographed shows such as “Gentefied”, “Gordita Chronicles” and “With Love” have portrayed Latin families and personalities of humor, humor and care. However, these projects rarely receive prizes.
Latin people deserve better. Our stories deserve to be informed and perceived in depth, accuracy and respect. The truth is the success of “Emilia Perez” in award shows is not a victory for us as a community. It is not even winning to act. It is a sad reminder of the amount of work that still has to do when it comes to diversity and acting in Hollywood.
But this does not mean that we must move; We need to encourage others to claim more than Hollywood. We need to be selective about what we support, and we must only celebrate films that reflect the full humanity of the Latin people and our experiences, not films that reduce us from cartoons. It is time for Hollywood to stop bonus retrospective and start original and accurate stories. Because if “Emilia Pérez” is what “progress” looks like, I do not want any part of it.
Johanna Ferreira is the content manager of PS Juntos. With more than 10 years of experience, Johanna focuses on how cross -intelligent identities are a major part of Latin culture. Previously, she spent nearly three years as a vice chief editor at Hiplatina, and has an independent of many ports including Refinery29, Oprah, Glor, Instill, and Bir+Good. She also ran and spoke to many Latin identity paintings.
