The controversies on Karla Sofía Gascón could cost the Oscars to “Emilia Perez”
So much so that it finally rains. The controversies that these days are overwhelming Karla Sofía Gascón and “Emilia Perez”, will almost certainly influence the decisions that the Academy will take on March 3, when those statuettes will be assigned that remain the most important recognition in the cinema. But why are five -year -old tweets so important? Is it really right what is happening? And what tells us about the industry and its relationship with modern society, social media and the new sensitivity or supposed so?
A film that deeply divided the public
Let’s start with an assumption: “Emilia Perez” is an extreme and bold film, and as often happens, a total polarization has had as its result. However, this did not affect the criticism, which was substantially expressed in a positive way on the latest effort of Jacques Audiard, this hybrid musical on a drug trafficking boss (the transgender actress Karla Sofía Gascón) who makes a transition to change life, helped by the lawyer Rita (Zoe Saldana), but without really being able to give up his wife Jessi (Selena Gomez) and children. “Emilia Perez” at the Cannes Film Festival last year was the great protagonist, he had even higher impact compared to the winner of the Golden Palm, Sean Baker’s “Anore”, another female film. The Audiard film took the Prix of Interprétation Féminine, the jury Grand Prix and the prize for best soundtrack, and landed on the screens gradually, given that it was Netflix to propose it from November 13th. Just in time for the American elections, pay attention to us. Donald J. Trump’s victory has certainly contributed to ferocious and often offensive criticisms towards the film, at the time when the Academy announced the Oscars nominations obtained from the film: 13, absolute record in the history of cinema, among the More for a non -American film. But “Emilia Perez”, and in particular the interpretation of Karla Sofía Gascón, did not like many Mexicans, who accused the film of stereotype and falsify their identity, of having a single Mexican stanker in the cast and to exploit a situation internal politics to say the least dramatic in a coarse way.
In spite of the rising of shields by many Mexican artists and artists in favor of “Emilia Perez” and Karla Sofía Gascón, the candidates of the Academy, as the usual partition and source of controversy, have reinforced the controversies of those who do not have The film is welcome, which deals with the theme of the transition, of identity, in such a direct way. The American public in particular was the most ferocious after the Mexican one to take sides against the film and above all Karla Sofía Gascón. Gascón is a candidate for the Oscars for best leading actress, in a country that has just elected a president who has collected consensus with its total conservatism and hostility towards the LGBTQ+community, already issuing restrictive and persecutory measures. The hostility towards the so -called “Woke Culture” made the film a target for a vast, indefinite but determined political and social front, which shouted to the scandal, to the flying by Hollywood and the Academy, to continue to make propaganda politics. And in such an atmosphere, old tweets of Karla Sofía Gascón dating back to 2020 and 2021 have come out, in which he argued with the protests related to the death of George Floyd, then here are other criticisms towards the Islamic world and religions in general, e Also against the same evening as the Oscars, “I don’t know if I saw an Afro-Corean festival, a demonstration of the Black Lives Matter movement or a March 8” recites one of the tweets, then deleted but recovered by the American press. In short, Karla Sofía Gascón is substantially finished in the middle of a fire crossed from both sides of the front. But it is the mirror of something much more left.
Reputation is the great theme of the film industry
Karla Sofía Gascón reminds us that holiness and perfection, even in minorities of any nature, do not exist. His opinions are perhaps questionable, more for the expressive method than for the content perhaps, but it is out of doubt that sanctifying those who are part of the minorities is a mistake no different from considering them lower, and it is also paternalistic. La Gascón has vaunted the dose by accusing the production team of the Brazilian film “I am still here” of having conspirate to destroy its reputation and with it the nominations of “Emilia Perez”. “I am still here” incidentally, sees the Brazilian actress Fernanda Torres nominated for the Oscar. But in the meantime, the Spanish actress, after publishing several excuses on her X profile, was forced to delete her account. He received offenses, threats of death, everything, every post on social networks where we talk about the film, sees a concentration of transfobic insults on which the inactivity of Meta is an absolutely illuminating political signal. Now, however, the real question is if all this will frustrate the candidacy obtained by “Emilia Perez” at the Academy, which defining generous is not perhaps wrongly wrong. That there is a will to embrace the civil and political commitment in the Academy in recent years is as true as it is inherent at the same time. It depends on the cases, which is equivalent to saying that it no longer counts for popularity, sponsorships and political weight behind the film in question. One of the many reasons why the Oscars have lost much of the reputation and consideration they enjoyed in the last decade. But there is more, there is the fact that social networks are a battlefield with which industry today has to find a balance.
At the time when the MCU was about to conquer the world, the fact that James Gunn, who with “the guardians of the galaxy” had made the audience and criticism was dismissed, was dismissed due to some very heavy ironic tweets, made a sensation . Really the past, especially the past on social media, has to count so much to judge and condition an artist? The Puritan and also hypocritical climate that the industry has embraced (not only in America) in the post -method era, has in the case of Karla Sofía Gascón only yet another chapter. Between being investigated for serious crimes (see the recent case of Neil Gaimann) and having controversial opinions should be a difference, with all the limits of the case obviously. Meanwhile, Zoe Saldana has removed himself from Gascón, a story already seen and already heard many other times in the recent past, and hardly the Spanish actress will have a future in the industry that counts after all this. Social social networks are increasingly used to destroy the reputation of opponents and competitors, something left but real, true, who has moved from politics in every area. Now all that remains is to wait for March 3, however it goes for the Academy it will be a disaster: if Karla Sofía Gascón and “Emilia Perez” rewards Karla, “Emilia Perez” will be accused of being politicized and far from meritocracy and the “people” (so -called), if instead it will cancel With a sponge the nominations, it will be accused of being hypocritical, fearful and all the more reason far from a true artistic meritocracy. In the end there are two victims of this story: Karla Sofía Gascón and the cinema, as an expression of something true, genuine, free. We really live in a crazy era.