UhVyn

• Divisive Reception: Despite mixed reactions ranging from ‘worst movie ever’ to ‘just okay,’ Emilia Perez received 13 Oscar nominations.
• Themes of Identity: The film explores identity and transformation but offers conflicting messages on change, representation, and selfhood.
• Musical Highs & Lows: Songs like El Mal shine, while La Vaginoplasty is criticized for reductive trans representation.
• Complex Casting Choices: The trans lead excels, though her character falls into villainous tropes.
• Confusing Ending: The finale muddles its message, raising questions about flawed heroes and societal perceptions.

*Spoilers Below*

The reception to Emilia Perez has been sharply divided, with some condemning it as the worst movie ever and others deeming it merely ‘okay.’ Yet, it earned an astonishing 13 Oscar nominations, more than most films in history. Why? Is it because it ignites debate—and if so, about what?

At its core, Emilia Perez explores identity. Emilia and Rita strive to transform who they are, but the film suggests that change, whether personal or societal, is elusive. The songs wrestle with the idea that altering appearance does not change essence, a view Rita disputes. Yet, the movie leaves the creators’ stance unclear: they celebrate trans and Mexican representation while implying that transformation is impossible. Is this deliberate ambiguity or thematic confusion?

Selena Gomez’s connection to the film and its communities is evident. Through her speeches and the production’s inclusive approach—highlighted by the film’s prolonged opening and diverse production credits—her love for Mexican and trans communities shines. However, as a white Canadian man, I can’t comfortably judge how effective this representation is. I can only acknowledge the tension between its passionate intentions and the criticisms it faces.

The musical numbers are a mix of impact and misstep. El Mal and Aqui Estoy resonate despite less polished vocals. Yet, La Vaginoplasty reduces trans identity to medical transition and reinforces binary stereotypes—a contradiction made starker by the next song, Doctor, which affirms nonbinary identities. The film’s fixation on duality clashes with the inherent fluidity of trans experiences.

The casting highlights this duality further. The trans lead delivers a compelling performance, but her villainous arc echoes harmful queer tropes. Meanwhile, Selena Gomez’s portrayal of Jessi has drawn criticism for ‘hysterical’ acting, though this may stem from direction rather than performance.

The film’s climax compounds confusion. Gustavo’s decision to keep driving despite Jessi’s threat feels contrived, undermining their years of shared loyalty. Jessi’s sudden betrayal, siding with her deceitful ex over Gustavo, feels equally forced. Is this chaos an intentional commentary on loyalty and identity, or a sign of narrative collapse?

Finally, the ending leaves a muddled message. Emilia is lauded in a hymn-like finale that parallels her with the Virgin Mary—an unsettling tribute given her unrepentant, controlling nature. Is the film suggesting that flawed saints deserve our focus, or that identity defies neat moral categories?

In conclusion, Emilia Perez is neither a triumph nor a disaster. Its 13 Oscar nominations seem more a response to its controversy than its quality. But if the measure of art is the conversation it sparks, then perhaps that—more than its successes or failures—is its true legacy.