Emilia Perez was Robbed During The Oscars

Not a Fucking Sheep ’26

(Alleged) Cinephile

It’s clear that the recent Academy Awards quickly turned into a horror movie for every cinephile all over the globe. The consensus was almost unanimous among people who have any idea about cinema – Emilia Perez was robbed! Out of 13 rightful nominations, the movie only received two Oscars – for The Best Original Song “El Mal” and The Best Supporting Actress for Zoe Saldana. The worst part about it is, that this tragic loss was actually celebrated by many woke cinematic novices, who couldn’t appreciate Emilia Perez for what it is – a masterpiece. It is no coincidence that Emilia Perez’s Rotten Tomatoes ranking is 72% from critics and 16% from the popcorn crowd. Emilia Perez was accused of being insensitive. People complained that it appropriates Mexican culture and is offensive to the trans community. People were also outraged that none of the main actors in the movie were actually from Mexico and that the Spanish in Emilia Perez was incomprehensible. Also, that the movie director is French was much scrutinized. I can understand why those critiques could be valid concerns if this was a documentary but if you think that a movie (particularly a musical) about a cartel boss who decides to abandon their family and transition to be her true self is not a work of fiction, then maybe instead of cinema you should consider going to a therapist. However, apart from this consideration the woke mob should really reconsider its stance on art in general. The moment works of art will have to be “sensitive” will be the end of us. They try to mandate artistic self-censorship and I’m not having it. The very point of art is to make one question reality, to evoke deep and sometimes uncomfortable emotions. If anything, the backlash that Emilia Perez received proves that there is a totalitarian tendency in judging art. It’s fiction, ok? Relax. I’m just deeply disappointed that The Academy just proved to be a sheep. 

But if you still argue that movies should be sensitive to their context, I want to elaborate on a couple of aspects of the movie that truly make it a masterpiece. I just want to make a disclaimer here; I don’t actually care what any of you think. People who hold onto their hollow ideology so tightly that they cannot recognize the genius before them don’t deserve my attention or frankly to be convinced of anything. They are a lost cause and I’m writing this review for my own pleasure, to relive the great cathartic adventure that Emilia Perez took me (and others with a brain) on. 

For those who didn’t see the movie, or maybe didn’t understand it, Emilia Perez is a musical, melodrama, crime and thriller movie that follows the life of titular character – Emilia Perez (played by Karla Sofia Gascon). The movie begins when Rita, who is a brilliant lawyer in Mexico City that is greatly underappreciated in her job, is being kidnapped by a cartel leader Manitas. What at first appears as a chilling scene quickly becomes moving, when Manitas reveals that he wants Rita’s help to undergo gender-affirming surgery and disappear to start a new and finally authentic life as Emilia Perez. However, a couple of years after faking her death and completing the transition, Emilia finds Rita and asks to help her reconnect with her family. This plan is successful, and Emilia’s family starts living with her in Mexico City, thinking that she is Manitas’ cousin. However, this setup only makes things more painful and complicated. Emilia seeks to build relationships with her children and ex-wife, but the inability to reveal her identity makes those relationships painful and inadequate. Later, Emilia establishes a non-profit organization that helps families of cartel victims identify their lost ones. 

There is something poetically redemptive and ironic about Emilia helping people find the bodies of their family members, who she was largely responsible for killing. The movie picks up the topic of the ‘second chance’ and redemption in a brilliant way. On the one hand the audience is aware of the evil that Emilia has done in her past life. However, one cannot help but root for Emilia and have emotional reactions to the choices she makes. Maybe particularly because her hubris leads to her downfall. Moreover, the movie offers a commentary on corruption. At some point Rita becomes very bitter about the fact that Emilia’s non-profit collaborates with politicians and public figures that helped her cover up for the cartel killings in the first place. 

It is also a movie about friendship, partnership and love (both romantic and familial). Emilia develops a beautiful and deep friendship with Rita who initially was only a lawyer she hired but later becomes a business partner and a great friend. Rita even adopts Emilia’s children after the tragic death of Emilia and Jessi. The relationship between Emilia and Jessi is also a deeply tragic one. Emilia still loves Jessi and can’t quite let her go but simultaneously she cannot reveal her identity. Things get really nasty once Jessi starts to build her life with another man and plans to move away with him and her children. Emilia doesn’t take it well. She returns to her old ways, which results in a bloodbath, but also a beautiful scene where she reveals to Jessi her real identity. This, however, doesn’t change their fate. Things had gone too far, and their destiny was to die. In a really nasty car crash. 

The music of Emilia Perez is so versatile and artful that I can’t believe I have to defend it. From hopeful “Todo y Nada” through dynamic and electric “Bienvenida” and soft “Papa” to almost operatic “El Mal”, Emilia Perez takes the viewer on a musical journey that transcends all genres and conventions. All songs are also dangerously catchy. Upon listening to “La Vaginoplastia” I couldn’t help but randomly burst into this song for many weeks after watching Emilia Perez. This song was followed by a stunning and moving song, where an Israeli plastic surgeon helped Emilia discover more about her identity, which really points to the emotional and musical genius of the movie. 

Emilia Perez is brilliant. It is dramatic to the point of becoming funny – a quality that reaches its climax at the very end of the movie. In the final scene, which was particularly accused of appropriating Mexican culture, a sculpture (paso) of Emilia is carried in a funeral procession. A large group of people, led by Emilia’s former lesbian lover, sing a chillingly beautiful song mourning her death. This scene is so over the top and dramatic that it has a comedic aspect to it, but this is exactly the biggest strength of Emilia Perez. The movie doesn’t take itself seriously, so the woke mob shouldn’t either. If I had to give Emilia Perez a rating it would be: YES YES YES!