Netflix’s Spanish-Language Musical, Helmed by Jacques Audiard, Secures Two Academy Awards on March 2, 2025, Including Best Supporting Actress for Zoe Saldaña, Despite Criticism Over Cultural Representation and Star Karla Sofía Gascón’s Past Tweets.
Los Angeles, USA – March 3, 2025 – The Dolby Theatre erupted in applause last night as Emilia Pérez, Netflix’s audacious Spanish-language musical, claimed two Oscars at the 97th Academy Awards, held on Sunday, March 2. The film, directed by French auteur Jacques Audiard, snagged Best Supporting Actress for Zoe Saldaña and Best Original Song for “El Mal,” capping a rollercoaster awards season that saw it lead with 13 nominations. Yet, behind the glitz of the wins lies a saga of controversy—over its portrayal of Mexico, transgender identity, and resurfaced tweets from lead actress Karla Sofía Gascón—that tested its journey to the podium.
Saldaña’s victory, her first Oscar, came for her role as Rita, a disillusioned lawyer who aids a Mexican cartel leader’s transformation into Emilia Pérez, played by Gascón. Accepting the award from presenter Regina King, Saldaña fought tears as she dedicated it to “the dreamers who dare to see beyond borders.” Backstage, however, she faced tougher questions. Mexican journalist Cristina Ibañez pressed her on criticism from Mexican viewers who found the film “hurtful” for its depiction of cartel violence and cultural stereotypes. “I’m very sorry if Mexicans felt offended—that was never our intent,” Saldaña responded, though she insisted, “The heart of this movie wasn’t Mexico; it was about identity and love, not a country.”
The film’s premise—a narco boss faking her death via gender-affirming surgery to live authentically—drew early acclaim, earning the Palme d’Or at Cannes 2024 and four Golden Globes. But as its Oscar buzz grew, so did scrutiny. Critics slammed Audiard, who admitted to minimal research on Mexico, for filming mostly in Paris with just five days of exteriors south of the border. “It’s not about realism—it’s a fever dream,” Audiard told reporters in January, a stance that didn’t quell outrage from those who saw it as a shallow take on a nation’s struggles. Trans advocates, meanwhile, debated Gascón’s casting as a step forward—marking her as the first trans woman nominated for Best Actress—versus a perpetuation of dated tropes, with GLAAD calling it “a step backward” in nuance.
Gascón’s own spotlight dimmed when old tweets surfaced in February, revealing racist and Islamophobic remarks from 2012-2018. The backlash was swift: she skipped the SAG and Critics’ Choice Awards, and her Best Actress bid faltered, losing to Anora’s Mikey Madison last night. Audiard condemned the tweets as “inexcusable” but stood by his star, who made a subdued appearance at the Oscars, avoiding the red carpet. “She’s paid a price,” he said backstage, dodging questions about trans representation by noting he “didn’t win” a platform to speak on it—despite his film’s haul.
The wins—for Saldaña and songwriters Clément Ducol and Camille—offered redemption. “El Mal,” a haunting ballad sung by Gascón’s character, beat out Selena Gomez’s “Mi Camino” from the same film, a twist that underscored its musical muscle. Gomez, playing Emilia’s wife Jessi, joined Saldaña and Gascón in celebrating at the Governors Ball, where the trio posed with the statuettes. “I’d do it again in a heartbeat,” Gomez told Variety, shrugging off the drama.
For Netflix, the night was bittersweet. Tipped as a Best Picture frontrunner, Emilia Pérez lost to Anora, a leaner indie that swept five awards. Still, its two victories—and a César sweep days earlier in France—cemented its global footprint. As it streams to millions, the film’s legacy remains dual-edged: a bold experiment that dazzled some and disappointed others, proving that even Oscar gold can’t silence every critic. For now, Saldaña’s tearful triumph and “El Mal”’s lingering notes echo louder than the noise, but the conversation it sparked is far from over.
