The actress’s old social media posts have threatened to derail the film’s Oscar campaign, but backlash has been building for months for other reasons.
When “Emilia Pérez” premiered at the prestigious Cannes Film Festival last May, the reaction from critics in attendance and the jury was overwhelmingly positive.
The French-produced, Spanish-language musical about a Mexican cartel boss who transitions into a woman and attempts to become a paragon of virtue won the jury prize (essentially third place) and its stars — Karla Sofía Gascón, Zoe Saldaña, Selena Gomez and Adriana Paz — shared the best actress award.
Netflix, the powerful global streaming company that has had a best picture Oscar in its sights but out of its grasp since the 2019 ceremony, acquired the unconventional picture by the French director Jacques Audiard and launched an imposing awards campaign. Widely embraced by the film industry, “Emilia Pérez” received 13 Oscar nominations last month — leading this year’s pack and falling one short of tying the record.
One of those nominations belongs to Gascón, who plays the titular character and became the first openly trans actor nominated for an Academy Award. In recent weeks, she has become engulfed in controversy that has threatened to derail the awards hopes for both her and the film. But since “Emilia Pérez” debuted in select theaters and then on Netflix late last year, there has been plenty of backlash on multiple fronts that has marred its pathway to Oscar glory. Here are the broad strokes of the controversies.
Karla Sofía Gascón’s Resurfaced Social Media Posts
Last week, the journalist Sarah Hagi unearthed offensive statements that Gascón posted in Spanish on X over the last few years. The disparaging comments touched on topics like George Floyd, Islam, and even the 2021 Oscar ceremony.
Gascón has since apologized, deleted her X account and given a lengthy interview on CNN en Español that she booked without Netflix’s involvement or authorization. She has also stayed active on Instagram, defending herself against criticism.
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Source: Movies - nytimes.com