As “Emilia Pérez” continues to receive accolades, it is seen as a strong contender for the Best Picture award at the Academy Awards on March 2. However, since its release in November, the film has been embroiled in controversy.

This Netflix crime musical tells the story of a lawyer (Zoe Saldaña) hired by a cartel leader (Karla Sofía Gascón) who wishes to undergo gender-confirming surgery. The film was well-received during its premiere at the Cannes Film Festival in May and won four Golden Globes in January, including best movie comedy or musical and a best supporting actress award for Saldaña.

The film has also garnered a record-setting 13 Oscar nominations, including a best actress nomination for Gascón, making her the first openly transgender actress to be nominated for an Academy Award.

Despite the acclaim, “Emilia Pérez” is not without its critics. Here’s a look at the reasons behind the backlash.

Criticism Over Mexican Representation in ‘Emilia Pérez’

Critics have pointed out that the Spanish-language musical has inadequate Mexican representation among its lead cast and crew: Director Jacques Audiard is French, the film was filmed entirely in Paris on a soundstage, and among the four main actresses, only Paz was born in Mexico.

Selena Gomez, who plays the role of Gascón’s dissatisfied wife, is of Mexican heritage but has faced scrutiny for her limited Spanish speaking ability in the film.

In a TikTok video last year, “CODA” actor Eugenio Derbez criticized her performance as “indefensible,” expressing disbelief at what he was watching. He agreed with Gaby Meza, host of the “Hablando de Cine con” podcast, who believed Gomez lacked the ability to add depth to her performance due to her not being fluent in Spanish.

The “Only Murders in the Building” actress responded by stating, “I did the best I could with the time I had. It doesn’t diminish how much effort and passion I poured into this movie.” Derbez later apologized, saying his “thoughtless remarks” contradicted his values.

Social media reactions have been largely negative. A viral post on X (formerly Twitter) took issue with Gomez’s Spanish-speaking skills, suggesting her performance was not acceptable.

Others defended Gomez, noting that her character’s lack of fluency in Spanish aligns with her role. A community note added to the aforementioned post clarified that Jessi Del Monte, Gomez’s character, is American and that Spanish is not her first language, a point made clear in the film.

Concerns Over the Film’s Portrayal of the Mexican Drug War

Another area of criticism highlights the film’s portrayal of the Mexican drug war, which some consider to be too sanitized.

One user on X expressed disappointment about how “Emilia Pérez” reflects years of film and media that romanticize drug trafficking, suggesting that the Mexican cultural elite has irresponsibly profited from what they called “narco culture.”

According to official figures reported by the Washington Post, the drug war has led to over 350,000 deaths, with 72,000 people still missing.

Another user, originally commenting in Spanish, expressed frustration on behalf of “Mexican filmmakers” who have been striving to depict the harsh realities of drug violence sensitively, only to see “Emilia Pérez” gain recognition instead of their efforts.

Criticism of Transgender Representation in ‘Emilia Pérez’

The film has also faced backlash regarding its representation of transgender individuals.

Viewers have voiced their frustration that “Emilia Pérez” is receiving attention for transgender representation while more deserving films, such as “I Saw the TV Glow,” directed by a trans filmmaker, remain overlooked.

“While it’s a celebration of the first trans woman nominee for best actress (which I support), it feels wrong to highlight ‘Emilia Pérez.’ Trans women deserve far better than this,” one user commented on X.

Another user stated, “It’s unfortunate because ‘Emilia Pérez’ is one of the least favorable films featuring a trans lead at this time.” They expressed concern for Karla Gascón’s historic nomination, suggesting that the nomination stems from a film that doesn’t accurately represent the transgender experience.

Numerous critics from the LGBTQ community, including transgender individuals, have condemned the film for its outdated portrayals of transgender people.

Amelia Hansford, a trans critic for PinkNews, described the film as “satirical,” “disingenuous,” and “harmful,” indicating that it inappropriately links transitioning with atonement for past misdeeds.

The LGBTQ advocacy organization GLAAD criticized the film as a “profoundly retrograde representation of a trans woman,” claiming it perpetuates harmful stereotypes and clichés surrounding transgender identities.

Critics such as Fran Tirado from Them characterized the film as “torturous” and highlighted how it presents an understanding of trans identity that lacks authenticity.

Harron Walker from The Cut commented on the film’s depiction of transitioning, expressing disappointment that a filmmaker with a past serious approach to diverse stories missed the mark in accurately portraying the trans experience.

Contributing: Brendan Morrow and Melissa Ruggieri