La controversia con la cinta Emilia Pérez aún continúa, pues luego de que su protagonista, Karla Sofía Gascón, fue nominada como “mejor actriz” en los Premios Oscar, varias personalidades de la industria del entretenimiento dieron su opinión al respecto.
Sin embargo, recientemente la española declaró que hay personas que quieren perjudicarla en su contienda a ganar la estatuilla de la Academia. Durante una entrevista con un importante medio brasileño, la famosa aseguró que hay una campaña de odio orquestada por el equipo de Fernanda Torres y su película I’m Still Here.
“Si gana ella, estupendo, si ganó yo, estupendo. Lo que no me gusta es que hay un equipo de redes sociales que trabaja alrededor de todas estas personas intentando demeritar mi trabajo y el de mi película, porque eso no lleva a ningún sitio. Para resaltar el trabajo de una persona no necesitas hundir el de los demás”, expresó.
Asimismo, Karla Sofía Gascón señaló que no tienen algo en contra de Fernanda Torres y que la felicita por su trabajo en I’m still here, el cual le valió ganar un Globo de Oro este año. Incluso, la española afirmó que jamás hablará mal de la brasileña.so
“En ningún momento me verán hablando mal de Fernanda Torres o de su película, pero en cambio sí veo a muchas personas que trabajan en el ambiente de Fernanda Torres que hablan mal de mí y de Emilia Pérez. Yo creo que eso habla más mal de ellos y de la película que de ellos que de la mía”, indicó.
Sin embargo, estas declaraciones podrían traerle consecuencias a Karla Sofía Gascón a la hora de que La Academia elija a la ganadora de su categoría. Debido a que sus acusaciones en contra de Fernanda Torres y su equipo de relaciones públicas no pueden ser comprobadas, la protagonista de Emilia Pérez estaría incurriendo en calumnias, las cuales son sancionadas por los Premios Oscar.
De acuerdo con las reglas de estos reconocimientos, “no se tolerará ninguna comunicación pública por parte de cualquier persona asociada con una película elegible que intente arrojar algo negativo sobre una película competidora”.
Hasta el momento, La Academia no ha emitido algún comunicado que indique que Karla Sofía Gascón está fuera de la competencia en la categoría de “mejor actriz”.
Karla Sofía Gascón utilizó su cuenta de X, antes Twitter, para hacerle frente a las críticas que ha recibido por la cinta Emilia Perez: “Hoy me preguntaba alguien si pensaba que había una campaña orquestada contra mí nominación y contra Emilia Pérez. Es más que obvio que tenemos un grave problema que nos acecha, de nuevo, a la humanidad. Como advertía Popper: – Tolerar al intolerante acaba con la tolerancia -”, escribió.
Incluso, la artista señaló la importancia de no seguir perpetuando los comportamientos que atentan contra la libertad de expresión. Además, en el post, la actriz comparó los malos comentarios hacia su persona con el Holocausto.
“Cuidado con seguir pasando por alto discursos de odio, así empezaron en Alemania y acabamos en campos de concentración. Cuidado con reír las gracias a líderes que pretenden recortar nuestros derechos, cuidado con comprarles el miedo que vierten. Cuidado porque quienes más se ríen hoy serán los más perjudicados mañana. Causa/Efecto. The light always wins over darkness”, indicó.
Sin embargo, tras la viralización de sus comentarios, los usuarios en redes sociales comenzaron a llenar la sección de comentarios con duras críticas, recordándole cuando calificó de “gatos” a quienes no les gustó la película, por lo que la actriz decidió hacer privada su cuenta en X, limitando el acceso a sus publicaciones.
Recientemente, se ha generado controversia en torno a la actriz Karla Sofia Gascón, protagonista de la película ‘Emilia Perez’, por presuntamente infringir las reglas de los premios Oscar. Según fuentes cercanas a la Academia de las Artes y las Ciencias Cinematográficas, Gascón habría participado en campañas de promoción y lobby para obtener votos a su favor, lo cual está prohibido por las reglas de la institución.
De ser ciertas estas acusaciones, las consecuencias para la actriz podrían ser graves. La Academia de los Oscar tiene estrictas normas en cuanto a la promoción de las películas y sus actores durante la temporada de premios, y cualquier violación de estas reglas puede resultar en la descalificación de la película y la revocación de cualquier premio obtenido.
Además, Gascón podría enfrentar consecuencias legales por su presunta participación en actividades prohibidas. La reputación de la actriz también se vería seriamente dañada, lo cual podría afectar su carrera en la industria del cine.
Por el momento, la Academia no ha emitido ningún comunicado oficial sobre el caso, pero se espera que se tomen medidas al respecto en los próximos días. Mientras tanto, los seguidores de Gascón y de la película ‘Emilia Perez’ están a la espera de conocer el desenlace de esta polémica situación.
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Karla Sofia Gascon, Emilia Perez, reglas de los Oscar, consecuencias, controversia, infracciones, actriz mexicana, película nominada, premios de la Academia, polémica, sanciones, incumplimiento, escándalo.
#Karla #Sofia #Gascón #protagonista #Emilia #Perez #habría #infringido #las #reglas #los #Oscar #estas #serán #las #consecuencias
Emilia Clarke in Game of Thrones / Credits: HBO
There was nothing more upsetting than following the journey of the Mother of Dragons from being a fragile Targaryen bride to one of the most powerful figures in Westeros only to see her fail in claiming the Seven Kingdoms and subsequently meeting her demise in the end.
Emilia Clarke almost revealed Daenerys Targaryen’s fate prior to Season 8 ending
The cast members of Game of Thrones were on strict no-spoilers policy during their promotion of the final season. They were prohibited from going on social media for the risk of spilling some important details, and they were also cautious during interviews.
Emilia Clarke Almost Ruined ‘Game of Thrones’ Ending With a Candid Reaction Before Season 8 Finale
In a recent interview, Emilia Clarke revealed that she almost let slip a major spoiler about the ending of ‘Game of Thrones’ before the Season 8 finale aired. The actress explained that she had a candid reaction to the final episode while on a talk show, and HBO had snipers ready to shoot her if she revealed too much.
Clarke admitted that she was so caught up in the emotions of the finale that she almost let something slip during the interview. She said that she was afraid of the consequences if she revealed any spoilers, as HBO was taking extreme measures to protect the ending of the show.
The actress joked that she had snipers watching her every move and ready to take her out if she said too much. She also mentioned that she had to be very careful about what she said in public, as fans were eagerly awaiting the conclusion of the beloved series.
Ultimately, Clarke managed to keep the ending of ‘Game of Thrones’ a secret until it aired, much to the relief of fans around the world. Her candid reaction may have almost ruined the finale, but thanks to HBO’s strict security measures, the show’s ending remained a surprise for viewers.
Fans can now look back on the series and appreciate the twists and turns of the final season without any major spoilers ruining the experience. Emilia Clarke’s near-miss with revealing the ending just goes to show how seriously HBO takes the secrecy of their beloved shows.
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#HBO #snipers #ready #shoot #Emilia #Clarke #Ruined #Game #Thrones #Candid #Reaction #Season #Finale
Emilia Clarke became uber famous when she was cast in Game of Thrones as the dragon queen Daenerys Targaryen. Emilia accumulated a massive fan base because her character is an icon in the A Song of Ice and Fire universe. At the time when she took on her role, Emilia had only a few minor roles in three projects, but after the success, many wanted to work with her.
Emilia has worked on over 20 projects since then, and while none of them outshone her portrayal as Daenerys, she has proven that she can play various types of characters. With several Marvel projects, a role in the Star Wars universe, and even an appearance as Sarah Connor in Terminator: Genesys, this British Thespian has built a solid career since her Game of Thrones days. The busy actress has six projects in the works, among them An Ideal Wife, a biopic on Oscar Wilde’s wife.
Thunderbirds Are Go is a combination of live-action models and animation based on Supermarionation from the 1960s. Thunderbirds Are Go follows the adventures of the Tracy brothers, a team of heroes running International Rescue, dedicated to saving lives around the world. From their hidden island base in the Pacific, they use advanced vehicles called “Thunderbirds” to handle daring rescue missions.
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Emilia Clarke’s Controversial Movie Becomes Streaming Hit 9 Years Later
A controversial film starring Emilia Clarke that led to protests around the world is becoming a streaming hit 9 years after its release.
Thunderbirds Are Go was produced in New Zealand and the U.K., and premiered in the US in 2015. The series was well-received and had three seasons. Generally, critics and fans loved the visuals, the designs, and the respectful nods to the original series. Emilia Clarke played a character named Doyle in the series’ second season, and although the role was relatively brief, it was a fun cameo from the accomplished actress.
Robot Chicken is an animated short film series that ran for a staggering 21 years. Created by Seth Green, the story follows a chicken who is found dead by a mad scientist. He brings it back to life by turning it into half robot, half chicken. He tortures the robot chicken by showing a series of stop-motion sketches of pop culture references, TV shows and movies, and real-life celebrities.
Robot Chicken was a large success with an 82 % popcorn rating on Rotten Tomatoes, and throughout its television run, it featured a variety of memorable actors. In Season 8, Emilia Clarke lent her voice to Bridget / Fancia Buttslam, making her part of the iconic comedy series’ extensive cast.
Secret Invasion is a six-episode miniseries on Disney+ that premiered in 2023. The story centers on Nick Fury and Talos as they race to expose and thwart a secretive plot by a faction of shapeshifting Skrulls aiming to take over Earth. The series was created by Kyle Bradstreet.
Emilia Clarke plays G’iah, Talos’s daughter, who is aligned with Gravik’s faction. Clarke described G’iah as having a “punk” edge, shaped by her hardened life as a refugee. She resents Nick Fury for failing to deliver on his promises from Captain Marvel to find the Skrulls a new home. Clarke and Ben Mendelsohn collaborated to develop G’iah and Talos’s backstory, envisioning her upbringing as regimented and combat-focused. G’iah is fiercely independent and critical of her father’s decisions. While Secret Invasion received quite a bit of criticism, most thought that Samuel L. Jackson and Emilia Clarke delivered solid performances.
The Pod Generation (2023) was written and directed by Sophie Barthes. This Sci-Fi story follows Rachel (portrayed by Emilia Clarke), a rising tech executive, and Alvy (portrayed by Chiwetel Ejiofor), her nature-loving botanist husband. When Rachel secures a spot at the Womb Center — offering pregnancy via artificial wombs — Alvy reluctantly embraces this high-tech approach to parenthood. Their journey becomes a witty exploration of technology versus nature in the quest to have a baby.
This movie was a good choice for Emilia, who possesses a natural charm and excels at romantic comedies. The chemistry between these two actors is great, which elevates this film’s dense storyline.
January 19, 2023
101 minutes
Sophie Barthes
Sophie Barthes
The Amazing Maurice is an animated fantasy comedy directed by Toby Genkel and co-directed by Florian Westermann, adapted from Terry Pratchett’s novel The Amazing Maurice and His Educated Rodents. The film features an impressive cast, including Hugh Laurie, Emilia Clarke, and David Thewlis, who voiced the main characters. The storyline centers around a cunning ginger cat named Maurice and a group of intelligent rats orchestrating an elaborate con in Bad Blintz.
Partnering with Keith, a human “pied piper,” they plan to trick the townsfolk by staging a rat plague, leading them away with their scheme. When they arrive in the town, they discover an unusual absence of local rats and team up with Malicia (played by Clarke), the mayor’s daughter, to investigate the mysterious food shortage and uncover the hidden truth behind the city’s rat problem.
December 16, 2022
93 Minutes
HBO MAX’s Animals. is an animated series that dives into the hidden, neurotic world of New York City’s urban wildlife. Created by Phil Matarese and Mike Luciano, the show offers a darker comedic look at animals experiencing very human-like challenges—from gender-questioning pigeons to lovesick rats and bedbugs navigating midlife crises. With its sharp, cynical humor, the series transforms ordinary city creatures into complex, existentially troubled characters.
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Game of Thrones Star Emilia Clarke to Lead Spy Thriller Series
Games of Thrones actor Emilia Clarke lands another role as she headlines an upcoming Cold War-era thriller.
Animals. ran for three seasons and had many famous guest stars in each episode. Emilia Clarke voiced a character named Lumpy. Animals. received great ratings from audiences and critics alike.
2016 – 2017
HBO
Solo: A Star Wars Story takes fans back to the early days of Han Solo. Directed by Ron Howard, the 2018 film follows Han (Alden Ehrenreich) as he escapes the oppressive life in Corellia, joins the criminal underworld, and meets Chewbacca and Lando Calrissian. Packed with heists, betrayal, and high-stakes adventure, the film captures the spirit of the original trilogy while adding layers to Han’s backstory. Despite a lukewarm box office performance, Solo has been praised as an underrated gem in the Star Wars saga.
One of the standout elements is Emilia Clarke’s portrayal of Qi’ra, Han’s childhood friend and love interest. Clarke imbues Qi’ra with charm and complexity, making her journey from ally to antagonist both heartbreaking and compelling. Her layered performance adds emotional depth to the film, leaving fans eager for more of Qi’ra’s untold story. Unfortunately, Emilia might not get a chance to explore her character further as Disney won’t do a sequel due to its modest performance in theaters.
The romantic drama Me Before You was Thea Sharrock’s directorial debut in 2016. The story follows William Traynor, a wealthy and adventurous young man, who becomes paralyzed after a motorbike accident. Struggling with physical pain and emotional despair, Will isolates himself on his family’s estate. His parents hire Louisa Clark (played by Emilia Clarke), a quirky and optimistic young woman from their small British town, for companionship.
Despite her lack of experience, Louisa is determined to lift Will’s spirits and bring joy back into his life. As the two form an unexpected bond, Louisa introduces Will to new experiences, rekindling his desire to embrace life. However, Will remains resolute in his decision to pursue legal euthanasia in Switzerland. The story is a heartfelt exploration of love, personal choice, and the transformative power of human connection. Throughout it all, Emilia Clarke brought her charm and enthusiastic personality into the role of Louisa Clark, providing an effective contrast to the brooding Will.
June 3, 2016
Thea Sharrock
Jojo Moyes
The animated sci-fi sitcom Futurama has been on TV for over 25 years now and is highly rated on IMDB as well as on Rotten Tomatoes. David X. Cohen and Matt Groening managed to consistently come up with hilarious and outlandish storylines, combining classic science fiction tropes with sharp humor. Futurama has received 58 Award nominations and won 30 awards, including six Primetime Emmy Awards.
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Emilia Clarke to Star in Animated Alice in Wonderland-Inspired Holiday Movie
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Emilia Clarke voices Marianne in Season 10, Episode 12, a flower shop girl, who becomes Zoidberg’s girlfriend. Marianne has no sense of smell, and therefore she is not affected by Zoidberg’s horrible stench. But Marianne desires nothing more than to be able to smell and experience the scent of the flowers she sells. Eventually, Zoidberg grants her wish and performs a nose transplant, but all his fears of losing her vanish when she wakes up and actually likes his smell because she never learned the difference between good and bad scents.
Kate (portrayed by Emilia Clarke), a struggling sales clerk at a year-round Christmas store, is a changed person after recovering from a near-fatal health incident the previous year. Irresponsible and self-absorbed, she couch-surfs to avoid her overbearing mother while pursuing an unrealistic dream of becoming a musical theater performer. Her life takes an unexpected turn when she meets Tom, a volunteer at a homeless shelter, who persistently engages with her despite her initial dismissal. As Kate develops feelings for Tom and perceives him as emotional support, his increasingly elusive nature and unclear intentions create tension, leaving their potential connection uncertain and dependent on the mysterious reason behind his initial persistence. The final scene reveals that Tom is not real but the person whose heart she received a year earlier.
As with all her comedies, Emilia Clarke’s natural personality shines through, and the chemistry between her and Henry Golding was one of the reasons for the film’s success. Last Christmas was directed by Paul Feig and written by Bryony Kimmings and Emma Thompson and received an 81% rating on Rotten Tomatoes.
November 8, 2019
103minutes
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Kicking off her career in 2009, Emilia Clarke became one of the most popular actresses in the world, appearing in one of the biggest shows of all time, and a handful of great movies and other shows. The British actress rose to prominence with her role as Daenerys Targaryen in the monumental HBO show, Game of Thrones. The once unknown actress was now one of the biggest stars in the world, opening her up to a lot of exciting roles going forward.
After Game of Thrones thrust her into the spotlight, Clarke began appearing as significant characters in several other big projects, including Me Before You, Last Christmas, Solo: A Star Wars Story, Secret Invasion, and Terminator Genisys. Emilia Clarke has remained busy throughout her career, and has some significant roles coming up, including an Amazon Prime series called Criminal, and another one for Peacock called Ponies.
In 2023, Emilia Clarke added another major franchise to her filmography, this time playing G’iah in the MCU series, Secret Invasion. While one of the lesser MCU projects, Secret Invasion is a decent enough superhero thriller, with a solid performance from both Samuel L. Jackson and Emilia Clarke. The MCU had been quietly building up to the show’s narrative for a while, and with some loose threads left after the series, it will be interesting to see where they take some characters next.
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Emilia Clarke’s Major Franchise Appearances |
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Game of Thrones |
2011-2019 |
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Terminator Genisys |
2015 |
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Solo: A Star Wars Story |
2018 |
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Secret Invasion |
2023 |
Starring opposite Samuel L. Jackson and Ben Mendelsohn, Emilia Clarke plays a significant role in the series, as G’iah eventually becomes a Super-Skrull. Like most of her performances, Emilia Clarke is great in Secret Invasion, having more to work with than most of the other characters in the series. Having Clarke play G’iah could be important for the appeal of the character if she reappears in the MCU, given how well-liked the actress is.
As Game of Thrones became one of the biggest TV shows of all time, Emilia Clarke was able to land the role of Sarah Connor in Terminator Genisys, another installment of the long-running science-fiction series started by James Cameron in the 80s. Like Secret Invasion, Terminator Genisys isn’t one of the best entries in its franchise, but it is serviceable, attempting to do a lot of new things in the franchise.
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Emilia Clarke had massive shoes to fill as Sarah Connor, one of the greatest female action characters of all time, with a committed performance by Linda Hamilton in the role in the first two films. Clarke did an admirable job, all things considered, and was one of the biggest highlights of the entire film. Though not as “tough” as Hamilton’s Connor, Emilia Clarke brought a new energy to the character, not content to just rehash what came before.
Premiering in 2005, Robot Chicken was a staple of Adult Swim throughout its run, as the often hilarious stop-motion sketch comedy series has continuously tapped into the pop culture zeitgeist for nearly two decades. In fact, the series continues to this day, featuring a variety of silly scenarios and creative bits. In 2016, Emilia Clarke took on a role in one of the show’s episodes, adding to her varied credits.
Robot Chicken is the longest-running Adult Swim show.
Though she only appeared in one episode of the show, Emilia Clarke has a short, but memorable scene as Bridget, one of the members of the Sisterhood of the Traveling Pants. In the episode, it is revealed that Bridget had relieved herself in the pants when it was her turn to wear them, and seems to be proud of that fact. It is a silly sketch, but Clarke’s over-the-top performance fits well with the tone of the show.
Released in 2022, The Amazing Maurice is an animated adaptation of the novel The Amazing Maurice and his Educated Rodents by Terry Pratchett. It tells the story of a ginger cat who befriends a group of rats by coming up with a money-making scheme. It’s a fun premise and The Amazing Maurice takes advantage of that, being an entertaining, family-oriented animated film that actually ends up being quite charming.
With The Amazing Maurice being one of her latest voice-action performances, Clarke has shown she is capable of doing even more voice work.
Emilia Clarke has acted in a variety of voice roles over her career, and she is once again fantastic in The Amazing Maurice as Malicia, the heroine of the film. Clarke brings a lot of her charm into the role of Malicia, whose quick wit and wild antics make for a fun character to watch throughout the film. With The Amazing Maurice being one of her latest voice-action performances, Clarke has shown she is capable of doing even more voice work.
Emilia Clarke’s undeniable charm makes her an easy candidate to lead romantic comedies, and she has done so throughout her career, with one of her most recent efforts being in the 2023 film, The Pod Generation. Set in a not-so-distant future, The Pod Generation explores the idea of parenthood as technology allows couples to share their pregnancies via detachable artificial wombs or pods. It’s a touching film that features a pair of fantastic leads.
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A good balance of emotional impact and humor, The Pod Generation warrants considerable discussion about the road to parenthood.
Clarke stars as Rachel Novy alongside Chiwetel Ejiofor’s Alvy Novy, a couple who decide to have a child. What makes The Pod Generation a great film is the chemistry the two actors have together, able to have wonderful performances with equal humor and heart. Emilia Clarke is especially a standout throughout, and her character explores some complex issues that come up with being a parent.
Futurama has been a long-running on-and-off animated comedy series since 1999. It has been well-received, as it explores the adventures of Fry, Leela, and Bender, who are employees at Planet Express, an interplanetary delivery company. Futurama is largely considered one of the best animated TV shows ever, full of genuine heart and incredible humor. After nine seasons, it still feels like there are plenty more stories to tell for the series.
Futurama continues on Hulu, as the streamer has renewed the series for seasons 10 and 11.
Emilia Clarke isn’t a staple of Futurama or anything. In fact, she only appeared in one episode back in 2013, titled “Stench and Stenchibility.” Emilia Clarke plays Marianne in the episode, a one-off character who is the girlfriend of Dr. John A. Zoidberg, in what was one of the last episodes of the entire series at the time, before it was revived. Marianne is a kind, empathetic character, and Emilia Clarke voices her to perfection.
While she is largely known for Game of Thrones, Emilia Clarke began to make a name for herself in the romantic comedy space, which included the 2019 holiday film, Last Christmas. Inspired by George Michaels and Wham!, Last Christmas is a heartfelt, and often very funny romantic comedy that is sure to be a tearjerker as it reaches its climax. Not only is it underrated in Clarke’s filmography, but it is also underrated as a Christmas film overall, even though it is undeniably charming.
Her chemistry with Henry Golding is fantastic throughout the entire film, and by the end of it, it’s hard not to be in love with Emilia Clarke’s character.
Emilia Clarke is magnetic in Last Christmas, playing Kate, a disillusioned Christmas store worker just trying to make it day-to-day. Kate is a lovable mess for most of Last Christmas, and Clarke’s committed performance makes her incredibly charming. Her chemistry with Henry Golding is fantastic throughout the entire film, and by the end of it, it’s hard not to be in love with Emilia Clarke’s character.
Emilia Clarke is incredibly funny and charming, which is a drastic contrast to what most people think of her as an actor, due to her Game of Thrones fame. This is best seen in her various other roles, including in Me Before You, a charming romantic drama that ends up being a very moving tearjerker by the time the credits appear. Based on the novel of the same name, Me Before You tells of a tragic love between a recently paralyzed man and his caretaker.
Emilia Clarke plays Louisa Clark, the quirky, bubbly caretaker of Sam Claflin’s Will Traynor. The two actors’ chemistry is undeniable, and Louisa is bursting from the seams with so much charm. At the time of Me Before You, Game of Thrones was essentially at the height of its popularity, and seeing such a drastic turn for Clarke was impressive, as Me Before You is one of the best performances in her career.
Releasing just half a year after Star Wars: The Last Jedi became extremely divisive, Solo: A Star Wars Story suffered because of that, failing to break even at the box office. Despite that, the Han Solo prequel film is actually a fantastic entry into the franchise as a whole, and one of the most underrated Star Wars projects that Disney has made. It captures the spirit of the original trilogy perfectly.
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What Happened To Qi’ra After Solo: A Star Wars Story
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Despite being the backstory for Han Solo, Emilia Clarke plays a new character in the film, Qi’ra. Friends with Han for most of their lives, Qi’ra is the primary love interest of the iconic character, but by the end of the film, she makes a tragic decision, choosing to betray Han and look out for herself. Clarke is great as the character, and it is a shame that she might not play her again, given that Disney seems to have no plans to follow up on the dangling story threads the movie left off with.
2011 – 2018
David Benioff, D.B. Weiss
David Nutter, Alan Taylor, D.B. Weiss, David Benioff
Few actors could say that one of their earliest projects is also incredibly important for pop culture as a whole, shaping an entire industry due to how groundbreaking it was. Emilia Clarke can, though, given she was one of the most significant pieces of Game of Thrones for all eight seasons. It’s hard to overstate just how much of an impact Game of Thrones made on the television industry, and even though it ended on a divisive note, it is still considered one of the greatest shows ever made.
Emilia Clarke took the world by storm as Daenerys Targaryen, Mother of Dragons and thought to be heir to the Iron Throne. Dany became one of the most popular TV characters of all time throughout the show’s run, with audiences watching her amass power and influence over the course of her journey. Game of Thrones is a monumental moment in television and Emilia Clarke rose to the occasion beautifully, portraying a character that continues to endure to this day.
London, England, United Kingdom
Emilia Clarke’s 10 Best Movies And TV Shows
Emilia Clarke has captured the hearts of audiences around the world with her captivating performances on both the big and small screen. From her breakout role as Daenerys Targaryen in Game of Thrones to her leading roles in hit movies, Clarke’s talent knows no bounds. Here are 10 of her best movies and TV shows that showcase her incredible acting skills:
1. Game of Thrones (2011-2019) – Clarke’s iconic role as Daenerys Targaryen in this epic fantasy series earned her critical acclaim and a massive fan following.
2. Me Before You (2016) – Clarke starred opposite Sam Claflin in this romantic drama about a young woman who falls in love with a paralyzed man.
3. Terminator Genisys (2015) – Clarke played Sarah Connor in this action-packed reboot of the Terminator franchise.
4. Last Christmas (2019) – Clarke charmed audiences in this heartwarming holiday rom-com alongside Henry Golding.
5. Solo: A Star Wars Story (2018) – Clarke joined the Star Wars universe as Qi’ra in this standalone film.
6. Voice from the Stone (2017) – Clarke showcased her dramatic chops in this psychological thriller set in 1950s Italy.
7. Above Suspicion (2019) – Clarke starred as an FBI informant in this crime thriller based on a true story.
8. Dom Hemingway (2013) – Clarke had a supporting role in this dark comedy alongside Jude Law.
9. Spike Island (2012) – Clarke appeared in this coming-of-age film about a group of friends trying to attend a Stone Roses concert.
10. Breakfast at Tiffany’s (2013) – Clarke starred in a stage adaptation of the classic film, showcasing her versatility as a performer.
Emilia Clarke continues to impress audiences with her range and talent, and these 10 movies and TV shows are just a glimpse of her incredible body of work. Look out for more unforgettable performances from this talented actress in the future.
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#Emilia #Clarkes #Movies #Shows
In the wake of devastating wildfires in Los Angeles that struck at the heart of the movie industry, an embattled Hollywood lined up behind the Netflix narco-musical about trans identity “Emilia Pérez” in Oscar nominations Thursday.
Jacques Audiard’s “Emilia Pérez,” a Spanish language, French-made film, dominated the nominations with a leading 13 nominations, including best picture and best actress for Karla Sofía Gascón, making her the first openly trans actor ever nominated for an Oscar. The film also landed nominations for directing, original screenplay, two of its songs and for Zoe Saldaña.
Netflix, despite its starring role in Hollywood, has never won best picture. Many of its top contenders have previously racked up large numbers of nominations (including “Mank,” “The Irishman” and “Roma”) but gone home with only a handful of trophies.
“Emilia Pérez,” though, may be its best chance yet. It became the most nominated non-English language film ever, surpassing Netflix’s own “Roma,” which landed 10 nominations. Only three films — “All About Eve,” “Titanic” and “La La Land” — have scored more nominations in Academy Awards history.
Another musical — “Wicked,” the smash Broadway adaptation — came away with nearly as many nominations. Jon M. Chu’s lavish “Wizard of Oz” riff collected 10 nominations, including best picture and acting nods for its stars, Cynthia Erivo and Ariana Grande.
“The Brutalist,” Brady Corbet’s postwar epic filmed in VistaVision and released by A24, also came away with a commanding 10 nominations, including best picture, best director and nominations for actor Adrien Brody, Guy Pearce and Felicity Jones.
The 10 nominees for best picture are: “Anora”; “The Brutalist”; “A Complete Unknown”; “Conclave”; “Dune: Part Two”; “Emilia Pérez”; “I’m Still Here.”; “Nickel Boys”; “The Substance”; “Wicked.”
In a wide-open Oscar race, the six most honored films — “Emilia Pérez,” “Wicked,” “The Brutalist,” “Anora” (six nominations) “Conclave” (eight nominations) and “A Complete Unknown” (eight nominations) — all fared as expected. The biggest surprises were the Brazilian film “I’m Still Here,” a portrait of political resistance under Brazil’s military dictatorship that also landed Fernanda Torres a best actress nomination, and RaMell Ross’ “Nickel Boys,” a daringly crafted first-person POV-shot drama that had been overlooked by many guilds in earlier voting.
Those nominees likely displaced a few best-picture possibilities in the prison drama “Sing Sing,” the journalism thriller “September 5” and the tender comedy “A Real Pain,” though those films all landed nominations elsewhere.
One of 2024’s most audacious films, “The Apprentice “ landed a surprising pair of nominations, for Sebastian Stan and Jeremy Strong. The film dramatizes the formative years of President Donald Trump’ s emergence in New York real estate under the tutelage of attorney Roy Cohn. Trump has called those involved with the film “human scum.”
In the best actor category, where Stan and Brody were nominated, the other nominees were Timothée Chalamet (“A Complete Unknown”), Colman Domingo (“Sing Sing”) and Ralph Fiennes (“Conclave”). Most notably left out was Daniel Craig, acclaimed for his very un-James Bond performance in “Queer.”
Best actress, a category that Demi Moore has appeared to have locked up for her full-bodied performance in “The Substance,” saw nominations for Moore, Gascón, Torres, Erivo and the star of “Anora,” Mikey Madison. Arguably the year’s most competitive category, that left out Marianne Jean-Baptiste (“Hard Truths”), Pamela Anderson, “The Last Showgirl”), Nicole Kidman (“Babygirl”) and Angelina Jolie (“Maria”).
“I’m a Los Angeles native and so there’s been so much devastation these past few weeks and my heart breaks for L.A. but it’s really beautiful to see everyone coming together,” Madison said Thursday. “Hollywood coming together and celebrating film right now is really beautiful.”
In the directing category, “The Substance” filmmaker Coralie Fargeat managed to crack into the otherwise all-male group of Sean Baker (“Anora”), Corbet, Audiard and James Mangold (“A Complete Unknown”). Most had expected Edward Berger to be nominated for directing the papal thriller “Conclave.”
Supporting actor was led by Kieran Culkin, the favorite for the award, for his performance in “A Real Pain.” The other nominees were: Yura Borisov (“Anora”), Guy Pearce (“The Brutalist”), Edward Norton (“A Complete Unknown”) and Strong. Supporting actress nominations went to Grande, Saldaña, Jones, Monica Barbaro (“A Complete Unknown”) and Isabella Rossellini (“Conclave”).
The nominations had originally been planned for Jan. 17. But after wildfires on Jan. 7 began burning through the Pacific Palisades, Altadena and other areas around Los Angeles, leaving behind historic levels of destruction, the academy extended its voting window and twice postponed the nominations announcement. Fresh fires outside Los Angeles continued Thursday during the nominations, announced by Bowen Yang and Rachel Sennott.
With so many in the film industry reeling from the fires, some called on the academy to cancel the Oscars altogether. Academy leaders have argued the March 2 ceremony must go ahead, for their economic impact on Los Angeles and as a symbol of resilience for the industry. Organizers have vowed this year’s awards will “celebrate the work that unites us as a global film community and acknowledge those who fought so bravely against the wildfires.”
“We will reflect on the recent events while highlighting the strength, creativity, and optimism that defines Los Angeles and our industry,” Bill Kramer, academy chief executive, and Yang said in an email to members Wednesday.
But much of the usual frothiness Hollywood’s award season has been severely curtailed due to the fires. The film academy canceled its annual nominees luncheon. Other events have been postponed or downsized. On Wednesday, Kramer and Yang said original song nominees won’t be performed this year. Conan O’Brien, whose Pacific Palisades home was spared by the fires, is hosting.
The Oscar nominations followed a up-and-down year for Hollywood that saw expansive post-strike delays, wide swaths of unemployed workers due to an industry-wide production slowdown and the tragedy of the California fires in January. Most humbling, perhaps, was the presidential election that returned Trump to office in a race where podcaster Joe Rogan seemed to hold more sway than all A-listers combined.
At the same time, even amidst a downturn for the superhero film, the industry rallied behind some galvanizing hits, including Universal Pictures’ “Wicked,” and three Walt Disney Co. $1 billion grossers in “Inside Out 2,” “Deadpool and Wolverine” and “Moana 2,” a film originally developed as a series for Disney+. Those films missed nominations Thursday except for “Inside Out 2,” which joined the best animated nominees of “The Wild Robot,” “Flow,” “Memoir of a Snail” and “Wallace and Gromit: Vengeance Most Fowl.””
That uncertain state of the movies seemed to be reflected in the nominations, which were spread across films both widely seen and little noticed, theatrically released and predominantly streaming.
But unlike last year, when Hollywood rallied around the success of “Oppenheimer,” the 2024 movie year offered up no clear frontrunner for the industry’s top honor. With five weeks to go until the Oscar ceremony, at least four or five movies — including “The Brutalist,” “Emilia Pérez,” “Anora,” “Conclave” and “Wicked” — are seen having a shot at best picture.
In a groundbreaking moment for trans representation in Hollywood, Emilia Pérez star Karla Sofía Gascón has made history as the first out transgender actor to be nominated for an Oscar. Gascón’s powerful performance in the film has captivated audiences and critics alike, earning her a well-deserved spot among the nominees for Best Actress.
Gascón’s nomination is a significant milestone for the trans community, shining a spotlight on the talent and diversity that exists within the entertainment industry. Her portrayal of Emilia Pérez, a transgender woman navigating love and identity in a conservative society, has resonated with viewers around the world and sparked important conversations about representation and inclusion in film.
As we celebrate Gascón’s historic achievement, we also recognize the importance of continuing to push for more opportunities and recognition for trans actors and performers. By lifting up voices like Gascón’s, we can help create a more inclusive and representative film industry for future generations.
Congratulations to Karla Sofía Gascón on her groundbreaking Oscar nomination – we can’t wait to see what the future holds for this talented and trailblazing actor! #EmiliaPérez #KarlaSofíaGascón #OscarNominated #TransRepresentation
Tags:
Emilia Pérez, Karla Sofía Gascón, trans actor, Oscar nomination, LGBTQ+ representation, diversity in film
#Emilia #Pérez #star #Karla #Sofía #Gascón #1st #trans #actor #nominated #Oscar
We have the nominees for the 36th annual GLAAD Media Awards, which honor fair, accurate and inclusive representations of the lesbian, gay, bisexual, transgender and queer community in film, TV, music, videogames, podcasts, journalism and more.
But the noms don’t include one of the most talked-about films of 2024 or its trans star. More on that below.
Vying for the Outstanding Wide-Release Film prize are Cuckoo, Drive-Away Dolls, Love Lies Bleeding, Mean Girls, My Old Ass, Problemista, Queer and Wicked. Up for the Limited-Release Film award are 20,000 Species of Bees, Backspot, Before I Change My Mind, Big Boys, Close to You, Crossing, Fitting In, High Tide, Housekeeping for Beginners and A Place of Our Own.
Noticeably absent from the GLAAD noms is Jacques Audiard’s Oscar contender Emilia Pérez, which won the Golden Globe this month, and its trans star Karla Sofía Gascón, who also won a Globe and is up for SAG and BAFTA awards in February. Back in November, GLAAD put out an article titled “‘Emilia Pérez’ is Not Good Trans Representation,” labeling the film — among other things — a “profoundly retrograde portrayal of a trans woman” and calling it “a step backward.”
Despite the snub for its Emilia Pérez, Netflix still dominated the GLAAD noms with 27 to lead all networks and platforms. ABC was the only other to muster double digits, with 10. Prime Video got nine, and Hulu and CBS took eight apiece.
Here are the nominees for the 2025 GLAAD Media Awards:
Outstanding Film – Wide Theatrical Release
Cuckoo (Neon)
Drive-Away Dolls (Focus Features)
Love Lies Bleeding (A24)
Mean Girls (Paramount Pictures)
My Old Ass (Amazon MGM Studios)
Problemista (A24)
Queer (A24)
Wicked (Universal Pictures)
Outstanding Comedy Series
Abbott Elementary (ABC)
Ghosts (CBS)
Hacks (Max)
Loot (Apple TV+)
The Sex Lives of College Girls (Max)
Shrinking (Apple TV+)
Somebody Somewhere (HBO)
Sort Of (Max)
We Are Lady Parts (Peacock)
What We Do in the Shadows (FX); ‘
Outstanding Drama Series
9-1-1: Lone Star (Fox)
Arcane (Netflix)
The Chi (Showtime)
Doctor Who (Disney+)
Found (NBC)
Heartbreak High (Netflix)
Interview with the Vampire (AMC)
Star Trek: Discovery (Paramount+)
The Umbrella Academy (Netflix)
Wicked City (ALLBLK)
Outstanding New Series
Agatha All Along (Disney+)
Black Doves (Netflix)
Brilliant Minds (NBC)
Diarra from Detroit (BET+)
Fantasmas (HBO)
Hazbin Hotel (Amazon Prime Video)
How to Die Alone (Hulu)
Kaos (Netflix)
No Good Deed (Netflix)
Palm Royale (Apple TV+)
Outstanding Film – Streaming Or TV
Am I Ok? (Max)
Fancy Dance (Apple TV+)
Good Grief (Netflix)
The Groomsmen: Second Chances (Hallmark)
The Holiday Exchange (Amazon Prime Video / Peacock)
Mother of the Bride (Netflix)
Ricky Stanicky (Amazon Prime Video)
Season’s Greetings from Cherry Lane (Hallmark)
Sweethearts (Max)
Wynonna Earp: Vengeance (Tubi)
Outstanding Documentary
“Breaking the News” Independent Lens (PBS)
“Campbell Addy” Photographer (National Geographic)
Chasing Chasing Amy (Level 33 Entertainment)
Down in the Valley (Starz)
Hidden Master: The Legacy of George Platt Lynes (Greenwich Entertainment)
“Hummingbirds” POV (PBS)
Lil Nas X: Long Live Montero (HBO)
Outstanding: A Comedy Revolution (Netflix)
“Who I am Not” POV (PBS)
Will & Harper (Netflix)
Outstanding Limited or Anthology Series
Baby Reindeer (Netflix)
Becoming Karl Lagerfeld (Disney+)
Carol & The End of the World (Netflix)
Eric (Netflix)
Expats (Amazon Prime Video)
Feud: Capote vs The Swans (FX)
Get Millie Black (Max)
Mary & George (Starz)
The New Look (Apple TV+)
Under the Bridge (Hulu)
Outstanding Film – Limited Theatrical Release
20,000 Species of Bees (Film Movement)
Backspot (XYZ Films)
Before I Change My Mind (Epic Pictures)
Big Boys (Dark Star Pictures)
Close to You (Greenwich Entertainment)
Crossing (MUBI)
Fitting In (Blue Fox Entertainment)
High Tide (Strand Releasing)
Housekeeping for Beginners (Focus Features)
A Place of Our Own (Dark Star Pictures)
Outstanding Reality Program
Bargain Block (HGTV)
Big Freedia Means Business (Fuse)
The Boyfriend (Netflix)
Queer Eye (Netflix)
Real Housewives of New York City (Bravo)
Selling Sunset (Netflix)
Southern Charm (Bravo)
Wayne Brady: The Family Remix (Freeform)
We’re Here (HBO)
Wiggin’ Out with Tokyo Stylez (We TV)
Outstanding Reality Competition Program
The Amazing Race (CBS)
The Boulet Brothers’ Dragula (Shudder / AMC+)
The Challenge 40: Battle of the Eras (MTV)
Finding Mr. Christmas (Hallmark+)
Hell’s Kitchen: Head Chef’s Only (Fox)
I Kissed a Boy (Hulu)
I Kissed a Girl (Hulu)
RuPaul’s Drag Race (MTV)
Top Chef (Bravo)
The Voice (NBC)
Outstanding Children’s Programming
“Aunt Praline’s Sweetie Pie” Strawberry Shortcake: Berry in the Big City (Paramount+)
The Fairly OddParents: A New Wish (Nickelodeon)
Firebuds (Disney Jr.)
“I’m Pogey” Fraggle Rock: Back to the Rock (Apple TV+)
Let’s Go, Bananas! (Cartoonito)
Monster High (Nickelodeon)
“Our Family Musical” Sesame Street (Max)
“Princess Royal Wedding” Princess Power (Netflix)
Star Wars: Young Jedi Adventures (Disney Jr. / Disney+)
Vida the Vet (Netflix)
Outstanding Kids & Family Programming or Film – Live Action
Empire Waist (Blue Fox Entertainment)
Heartstopper (Netflix)
“If You Love Me” Beyond Black Beauty (Amazon Prime Video)
Jane (Apple TV+)
“Louds in Love” The Really Loud House (Nickelodeon)
Outstanding Music Artist
Adam Lambert, Afters (More is More)
Billie Eilish, Hit Me Hard and Soft (Darkroom/Interscope)
Doechii, Alligator Bites Never Heal (Top Dawg Entertainment/Capitol Records)
Elton John, Never Too Late: Soundtrack to the Disney+ Documentary (UMG Recordings)
Joy Oladokun, Observations from a Crowded Room (Verve Forecast/Republic Records)
Kali Uchis, Orquídeas (Geffen Records)
Omar Apollo, God Said No (Warner Records)
Orville Peck, Stampede (Warner Records)
Tove Lo, HEAT (Pretty Swede Records)
Victoria Monét, Jaguar II: Deluxe (Lovett Music/RCA Records)
Outstanding Kids & Family Programming or Film – Animated
The Bravest Knight (Hulu)
The Dragon Prince (Netflix)
Fright Krewe (Hulu / Peacock)
Kiff: The Haunting of Miss McGravy’s House (Disney Channel)
“I Wanna Dance with My Buddy” Hailey’s On It! (Disney Channel)
Jurassic World: Chaos Theory (Netflix)
The Loud House (Nickelodeon)
Moon Girl and Devil Dinosaur (Disney Channel)
“Powerless” Monsters at Work (Disney Channel)
“Summer of Heart Eyes” Primos (Disney Channel)
Outstanding Breakthrough Music Artist
Beabadoobee (Dirty Hit)
The Blessed Madonna (Warner Records)
Durand Bernarr (DSing Records)
Gigi Perez (Gigi Perez PS/Island)
The Last Dinner Party (Island Records)
Medium Build (Island Records)
Michaela Jaé (TribeDisciples)
Remi Wolf (Island Records)
Villano Antillano (La Buena Fortuna Music)
Young Miko (Wave Music Group/Capitol Records)
Outstanding Broadway Production
Cult of Love, by Leslye Headland
Illinoise, book by Justin Peck, Jackie Sibblies Drury, music and lyrics by Sufjan Stevens
Lempicka, book by Carson Kreitzer, Matt Gold, music by Matt Gould, lyrics by Carson Kreitzer
Mother Play, by Paula Vogel
Oh, Mary!, by Cole Escola
Outstanding Podcast
Baby, This is Keke Palmer (Wondery)
But We Loved (iHeart)
Las Culturistas (iHeart)
Made it Out (Made It Out Media)
Queer West (Audible)
Rooted Recovery (Promises Behavioral Health)
“The Science Of Transgender Healthcare, Puberty Blockers, & Conversion Therapy with Dr. Jack Turban” The Checkup with Dr. Mike (DM Operations Inc.)
Sibling Rivalry (Studio 71)
Surface Level
Tres Leches
Outstanding Video Game
Caravan SandWitch (Studio Plane Toast / Dear Villagers)
Dragon Age: The Veilguard (BioWare / Electronic Arts)
Dread Delusion (Lovely Hellplace / DreadXP)
Dustborn (Red Thread Games / Spotlight by Quantic Dream)
Fear the Spotlight (Cozy Game Pals / Blumhouse Games)
Life is Strange: Double Exposure (Deck Nine / Square Enix)
Minds Beneath Us (BearBone Studio)
Paper Mario: The Thousand-Year Door (Intelligent Systems / Nintendo)
Sorry We’re Closed (à la mode games / Akupara Games)
Until Then (Polychroma Games / Maximum Entertainment)
Outstanding Comic Book
Alan Scott: The Green Lantern, by Tim Sheridan, Cian Tormey, Jordi Tarragona, Raúl Fernandez, John Livesay, Matt Herms, Chris Sotomayor, Lucas Gattoni (DC Comics)
Avengers Academy: Marvel’s Voices, by Anthony Oliveira, Carola Borelli, Bailie Rosenlund, IG Guara, Alba Glez, Elisabetta D’Amico, Pablo Collar, Karen S. Darboe, Carlos Lopez, KJ Díaz, Ian Herring, Frank William, Ariana Maher, Joe Caramagna (Marvel Infinity Comics)
Captain Marvel, by Alyssa Wong, Jan Bazaldua, Ruairí Coleman, Roberto Poggi, Bryan Valenza, Carlos Lopez, Ariana Maher (Marvel Comics)
I Heart Skull-Crusher, by Josie Campbell, Alessio Zonno, Angel De Santiago, Jim Campbell (BOOM! Studios)
The Nice House by the Sea, by James Tynion IV, Álvaro Martínez Bueno, Jordie Bellaire, Andworld Design (DC Comics)
NYX, by Jackson Lanzing, Collin Kelly, Francesco Mortarino, Enid Balám, Elisabetta D’Amico, Michael Shelfer, Raúl Angulo, Joe Sabino (Marvel Comics)
The Oddly Pedestrian Life of Christopher Chaos, by Tate Brombal based on an idea by James Tynion IV, Isaac Goodhart, Soo Lee, Naomi Franq, Miquel Muerto, Patricio Delpeche, Héctor Barros, Aditya Bidikar (Dark Horse Comics)
Poison Ivy, by G. Willow Wilson, Marcio Takara, Luana Vecchio, Haining, Arif Prianto, Hassan Otsmane-Elhaou (DC Comics)
Spectregraph, by James Tynion IV, Christian Ward, Aditya Bidikar (DSTLRY)
Suicide Squad: Dream Team, by Nicole Maines, Eddy Barrows, Eber Ferreira, José Luís, Adriano Di Benedetto, Adriano Lucas, Becca Carey (DC Comics)
Outstanding Original Graphic Novel/Anthology
Ash’s Cabin, by Jen Wang (First Second)
Bad Dream: A Dreamer Story, by Nicole Maines, Rye Hickman (DC Comics)
Becoming Who We Are: Real Stories About Growing Up Trans, [anthology] (A Wave Blue World)
Deadendia: The Divine Order, by Hamish Steele (Union Square & Co.)
The Deep Dark, by Molly Knox Ostertag (Graphix)
The Fox Maidens, by Robin Ha (HarperAlley)
Lunar Boy, by Jes Wibowo and Cin Wibowo (HarperAlley)
My Fairy Godfather, by Robert Mailer Anderson, Jon Sack (Fantagraphics)
The Ribbon Skirt, by Cameron Mukwa (Graphix)
The Science of Ghosts, by Lilah Sturges, El Garing, Alitha Martinez, Hassan Otsmane-Elhaou, Jimmy Betancourt (Legendary Comics)
Outstanding Variety or Talk Show Episode
The 77th Tony Awards (CBS)
The 98th Macy’s Thanksgiving Day Parade (CBS)
“Bernie Sanders Rips the Democratic Establishment; Trump Allies Claim Massive Mandate: A Closer Look” Late Night with Seth Meyers (NBC)
“D.C. Woman Turns Childhood Home Into Communal Living For LGBTQ+ Seniors” The Kelly Clarkson Show (syndicated)
“DNA: This is Not My Child / Mom, Why Can’t You Accept Me?” Karamo (syndicated)
“Elliot Page Talks Season 4 of ‘The Umbrella Academy,’ Fighting Anti-LGBTQ Legislation” The View (ABC)
“Laverne Cox Unpacks Anti-LGBTQ+ Legislation, Bullying & Transness for Spirit Day” The Daily Show with Jon Stewart (Comedy Central)
“Libraries” Last Week Tonight with John Oliver (HBO)
“Queer Teacher Gets a Life-Changing Surprise!” The Jennifer Hudson Show (syndicated)
“A Special Monologue for the Republican in Your Life” Jimmy Kimmel Live (ABC)
Outstanding TV Journalism Segment
“Becoming Che” SC Featured (ESPN)
“Big Gay Football” CBS Sports (CBS)
“Demystifying Trans Identities” (Spectrum News 1 Ohio)
“Pete and Chasten Buttigieg on Fatherhood” CBS News Sunday Morning (CBS)
“Project Asylum: Transgender Asylum Seekers Find Hope Through San Francisco’s LGBTQ Asylum Project” CBS News Bay Area (KPIX-TV CBS 5 Bay Area)
“Small Town in Arkansas a Safe Haven For LGBTQ+ Residents” GMA3 (ABC)
“Spectrum Indigenous Celebrates Pride Month With Two Spirit Powwows” KREM 2 News (KREM-TV CBS 2 Spokane)
“Stonewall House” NBC News Now (NBC)
“Transgender Pastor In California Builds Inclusive Church For LGBTQ+ Community” CBS Mornings (CBS)
“Vogue Realness: Billy Porter & LGBTQIA Community Celebrate Dancer O’Shae Sibley” America In Black (BET+)
Outstanding TV Journalism – Long-Form
“American Problems, Trans Solutions” Local, USA (PBS via WORLD Channel)
“The Cure for HIV” Scripps News Reports (Scripps News)
“Chella Man” It’s Ok to Ask Questions (WMAQ-TV NBC 5 Chicago)
“The Life and Death of Blaze Bernstein” 48 Hours (CBS)
“Proud Legacy: A NY1 Special” (Spectrum News NY1)
Outstanding Live TV Journalism – Segment or Special
“Africa’s Anti-LGBTQ Laws: Impact on Uganda’s Economy, Ghana Wants Bill Accelerated” Horizons Middle East & Africa (Bloomberg Television)
“Algerian Boxer Imane Khelif Names J.K. Rowling and Elon Musk in Cyberbullying Suit” NBC News Now (NBC)
“Democrats are Learning The Wrong Message on Trans Youth” Inside with Jen Psaki (MSNBC)
“Finding Love & Light in Unexpected Places: Small Towns Celebrate Pride Across America” Good Morning America (ABC)
“Ina Fried Talks Imane Khelif” The Saturday/Sunday Show with Jonathan Capehart (MSNBC)
“LGBTQ+ Asylum Seekers flee to U.S. to Save Their Lives” José Díaz-Balart Reports (MSNBC)
“Pride Across America” ABC News Live (ABC)
“Rep. Leigh Finke Discusses Gender Affirming Healthcare with Pamela Brown” CNN Newsroom (CNN)
“Sarah McBride reflects on Becoming First Openly Transgender Person Elected To Congress” PBS NewsHour (PBS)
“Young Voters Could Decide The 2024 Election” Inside the 11th Hour with Stephanie Ruhle (MSNBC)
Outstanding Print Article
“After Trump’s Election Win, Local Trans Community Concerned About Their Future” by DeAsia Paige (The Atlanta Journal Constitution)
“‘Changing The Narrative’: Advocates Fight HIV Stigma in Dallas’ Latino Community” by Abraham Nudelstejer (The Dallas Morning News)
“‘I Want To Exist’: Three Days at a Texas Summer Camp for LGBTQ Kids.” by Erin Allday (San Antonio Express-News)
“Joe Locke on ‘Heartstopper’ Embracing Sex, Being a Queer Marvel Star in ‘Agatha’ and Why ‘There Are Days I Never Want to Play a Gay Character Again’” by Adam B. Vary (Variety)
“Meet the Young Transgender Teens Changing America and the World” by Ryan Adamczeski (The Advocate)
“Noah J. Ricketts Brings the Bluegrass to Hollywood and Broadway” by Spencer Jenkins (Queer Kentucky)
“Opinion: Celebrating 10 Years of Marriage Equality, More LGBTQ+ History Left to Write” by Josiah Robinson (Tulsa World)
“Our Queerest Century” [special project] (Los Angeles Times)
“Paris Olympics: More Queer Athletes, More Medals, More Pride, Less Grindr” by Dawn Ennis (Washington Blade)
“Sasha Velour Sashays Into The Culture Wars” by Maura Judkis (The Washington Post)
Outstanding Online Journalism Article
“Afraid Your Child Will Regret Their Transition? Let’s Talk About It!” by Ben V. Greene (Romper.com)
“CeCé Telfer Was Barred From Competing at The 2024 Paris Olympics as a Trans Woman Athlete. She Has Her Sights Set On L.A. In 2028.” by David Artavia (Yahoo.com)
“First They Tried to ‘Cure’ Gayness. Now They’re Fixated on ‘Healing’ Trans People.” by Madison Pauly with Henry Carnell (MotherJones.com)
“Fleeing the Country and Rationing Testosterone: Transgender Americans’ New Reality Under a Trump Presidency” by Beth Greenfield (Fortune.com)
“Friends Remember Nex Benedict, Oklahoma Student Who Died After School Fight, as ‘Fiery Kid’” by Jo Yurcaba (NBCNews.com)
“He’s 23 and in an Ohio Prison for Exposing Someone to HIV – Even Though He Couldn’t Transmit the Virus” by Ken Schneck (TheBuckeyeFlame.com)
“Missouri Republican’s Antigay Slur-Filled Posts Remain on Instagram Despite Violating Meta’s Policies” by Christopher Wiggins (Advocate.com)
“Thailand Could Soon Legalize Same-Sex Marriage. It Would Change Lives.” by Rebecca Root (them.us)
“These Trans People And Their Families Can’t Afford To Flee To A Friendlier State” by Nico Lang (HuffPost.com)
“Your Guide to Accessing Gender-Affirming Care” by Madison Feller (Elle.com)
Outstanding Magazine Overall Coverage
The Advocate
Allure
Cosmopolitan
The Hollywood Reporter
Metro Weekly
OUT
People
Plus
Variety
Vogue
Outstanding Online Journalism – Video or Multimedia
“Ballin’ Out” (OutSports.com)
“The Legacy of Cecilia Gentili: First Pride Without Mother” (Time.com)
“A Life In Fear: The Dangers Of Finding Love Online As A Queer Woman In Nigeria” (CNN.com)
“Love to the Max: Family Bonds Protect a Trans Teen in Texas” (NewYorker.com)
“The Past, Present, and Future of Trans Visibility in Fashion” (InStyle.com)
“Rainbow Girls: 10 Years of Protection and Prejudice” The Picture Show (NPR.org)
“RuPaul, Tina Knowles, Billy Eichner & More Give Ts Madison Her Flowers” (LogoTV.com)
“The Uncertain Future Of A Historic LGBTQ+ Safe Space: New York City’s People’s Beach” (ABCNews.com)
“War On Woke: How a Gay Rights Index Once Touted By Walmart And Others Became a Conservative Target” (CNBC.com)
“Seat 31” (NewYorker.com)
Outstanding Independent Journalism
The 19th
Assigned Media
The Buckeye Flame
The Don Lemon Show
Erin in the Morning
Gaye Magazine
Queer News Daily
The Queer Review
TransLash Media
Under the Desk News
Special Recognition
“Drag: The Musical”
Outloud
Q.Digital
“Red Ink: A Tribute to Cecilia Gentili”
The Stonewall National Monument Visitor Center
The New York Liberty
Outstanding Scripted Television Series (Spanish language)
Cris Miró (Max)
Land of Women (Apple TV+)
Nadie nos va a extrañar (Amazon Prime Video)
El secreto del río (Netflix)
Vestidas de azul (Atresplayer)
Outstanding TV Journalism (Spanish language)
“Un Amor de Impacto” Primer Impacto (Univision)
“Esta es la historia de ‘Miss Gaviota’, la primera luchadora trans de México” Noticias Telemundo (Telemundo)
“‘En Honduras nos matan’: estas mujeres transgénero huyeron de persecuciones” Noticias Telemundo (Telemundo)
“Más Allá de los Pronombres” Noticias Telemundo Colorado (Telemundo Colorado)
“Ojo Crítico: Nava Mau’” Showbiz (CNN en Español)
Outstanding Online Journalism Article (Spanish language)
“Así se desmontan los argumentos de una persona TERF” por Aitana Villegas (Huffingtonpost.es)
“Cuando cambiar de nombre es todo un reto: la lucha de las infancias trans en México” por Alicia Fábregas (ElPais.com)
“Estudio lo confirma: jóvenes LGBTQ+ en Puerto Rico son más propensos al acoso, la depresión, ideación e intentos suicidas” por David Cordero Mercado (ElNuevoDia.com)
“Frida Cartas: “Yo no salí del clóset, salí del útero de mi madre y años más tarde tuve que autoparirme sola” por Diana Massis (BBC Mundo)
“Jóvenes latinos gay ven un porcentaje creciente de nuevos casos de VIH en EEUU” por Vanessa G. Sánchez, Phillip Reese y Devna Bose (Univision.com & APNews.com)
“Los líderes emberá LGBTI que resisten a las terapias de conversión y a las amenazas de los paramilitares” por Daniela Díaz (ElPais.com)
“Mujeres trans en deportes: cuando lo más importante es poder competir” por Oscar Bermeo Ocaña* (Sentiido.com)
“Señales de retroceso para la comunidad LGBTQ de Argentina bajo el nuevo gobierno de Javier Milei” por Debora Rey (The Associated Press y El Nuevo Día)
“Sindicalista y mujer trans: esta es la historia de Maura Alzate” por Mariana Escobar Bernoske (ElEspectador.com)
“‘Trump quiere borrarnos’: la lucha por los derechos de la comunidad LGBTQ resuena en la convención demócrata” por Albinson Linares (Telemundo.com)
Outstanding Online Journalism – Video or Multimedia (Spanish language)
“Una cena con Ana y Virginia: Navidad fuera del clóset, con tu familia y en pareja” por Alejandra Ortiz Molano y Catalina Mesa Urquijo (La Disidencia – El Espectador)
“Derechos de las diversidades sexuales en Colombia” por Juan Camilo Arias, Edwin Rodríguez Oliveros, Sergio Rozo, Sandra Lucía Molano Torres, Joan Sebastián Ocampo, Juliana Aragón Echeverry, Juan Camilo Arias, Tatiana Rentería y María Clara Quiroz Arango (El Espectador)
“Derechos LGBTIQ+ en Latinoamérica: retrocesos en países a la vanguardia y orgullo por las conquistas” por Manuela Cano Pulido (Ellas Hoy – France 24 Español)
“La investigadora que buscaba su identidad” por Natalia Orozco, Cristina Gleinig y Carlos Delgado (Fuerza Latina – DW Español)
“El Orgullo Es Universal” por Rigo Villalobos (Telemundo 20 San Diego)
Reconocimiento Especial/Special Recognition (Spanish language)
“The Q Agenda” (LatiNation)
“La Verdrag” (Canal Once)
Emilia Pérez’ Snubbed, Netflix Leads
In a surprising turn of events, Emilia Pérez, the rising star of Mexican cinema, has been snubbed by major film festivals and award shows. Despite her critically acclaimed performances in recent films, Pérez has been overlooked for nominations and recognition in favor of more established actors.
However, all is not lost for Pérez, as she has found a new home on Netflix. The streaming giant has taken notice of her talent and has signed her on for multiple projects, including a leading role in an upcoming original series. With Netflix’s support, Pérez is poised to reach a global audience and showcase her undeniable talent to viewers around the world.
While it may be disappointing to see Pérez overlooked by traditional award shows, her partnership with Netflix signals a bright future ahead. Keep an eye out for this talented actress as she continues to shine on the small screen and beyond.
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#Emilia #Pérez #Snubbed #Netflix #Leads
Poco después de los devastadores incendios forestales en Los Ángeles que golpearon el corazón de la industria cinematográfica, un Hollywood asediado se alineó detrás del narcomusical de Netflix sobre la identidad trans “Emilia Pérez” en las nominaciones al Oscar el jueves.
“Emilia Pérez”, de Jacques Audiard, una película hablada en español y filmada en Francia, dominó con 13 nominaciones, incluidas mejor película y mejor actriz para Karla Sofía Gascón, convirtiéndola en la primera actriz abiertamente trans nominada a un Oscar. La película también obtuvo nominaciones para dirección, guion original, dos de sus canciones y para Zoe Saldaña.
Netflix, a pesar de su papel protagónico en Hollywood, nunca ha ganado el premio de mejor película. Muchos de sus principales contendientes han acumulado un gran número de nominaciones, incluyendo “Mank”, “The Irishman” (“El irlandés”) y “Roma”, pero se han ido a casa con solo un puñado de trofeos.
“Emilia Pérez”, sin embargo, puede ser su mejor oportunidad hasta ahora. Se convirtió en la película en lengua no inglesa más nominada de la historia, superando a “Roma” de Alfonso Cuarón, que obtuvo 10 nominaciones. Solo tres películas — “All About Eve” (“La malvada”), “Titanic” y “La La Land” — han obtenido más nominaciones en la historia de los Premios de la Academia.
Otra película de habla no inglesa que figuró prominentemente fue “Ainda Estou Aquí” (“Aún estoy aquí”). El filme brasileño de Walter Salles sobre la familia de un político desaparecido durante la dictadura militar, fue nominado a mejor película, largometraje internacional y tuvo una mención para su protagonista Fernanda Torres como mejor actriz.
El musical, “Wicked”, la exitosa adaptación del musical de Broadway, obtuvo casi la misma cantidad de nominaciones. La fastuosa producción inspirada en “El mago de Oz” de Jon M. Chu obtuvo 10 nominaciones, incluidas las de mejor película y actuación para sus estrellas Cynthia Erivo y Ariana Grande.
“The Brutalist” (“El brutalista”), la épica de la posguerra filmada en VistaVision de Brady Corbet, también se llevó un impresionante total de 10 nominaciones, incluyendo mejor película, mejor director y nominaciones para el actor Adrien Brody, Guy Pearce y Felicity Jones.
Los nominados a mejor película son el filme brasileño “Ainda Estou Aquí”; “Anora”; “The Brutalist”; “A Complete Unknown” (“Un comlpeto desconocido”); “Conclave” (“Cónclave”); “Dune: Part Two” (“Duna: Parte Dos”); “Emilia Pérez”; “Nickel Boys”; “The Substance” (“La substancia”) y “Wicked”.
En una carrera por el Oscar muy abierta, las seis películas más nominadas — “Emilia Pérez”, “Wicked”, “The Brutalist”, “Anora” (con seis nominaciones) “Conclave” (con ocho nominaciones) y “A Complete Unknown” (ocho nominaciones) — cumplieron con las expectativas. Las mayores sorpresas fueron “Ainda Estou Aquí”, y “Nickel Boys” de RaMell Ross, un drama filmado desde la perspectiva de sus protagonistas que había sido pasado por alto por muchos gremios en votaciones anteriores.
Esos nominados probablemente desplazaron a algunas posibilidades de mejor película en “Sing Sing”, “September 5” y “A Real Pain” (“Un dolor real”), aunque esas películas obtuvieron nominaciones en otras categorías.
Una de las películas más audaces de 2024, “The Apprentice” (“El Aprendiz”) logró sorprendentemente un par de nominaciones, para Sebastian Stan y Jeremy Strong. La película dramatiza los años formativos del presidente Donald Trump en el sector inmobiliario de Nueva York bajo la tutela del abogado Roy Cohn. Trump ha llamado a los involucrados con la película “escoria humana”.
En la categoría de mejor actor, donde fueron nominados Stan y Brody, los otros nominados fueron Timothée Chalamet (“A Complete Unknown”), Colman Domingo (“Sing Sing”) y Ralph Fiennes (“Conclave”). Notablemente ausente quedó Daniel Craig, aclamado por su actuación muy poco James Bond en “Queer”.
Mejor actriz, una categoría que Demi Moore parecía tener asegurada por su impresionante actuación “The Substance”, tuvo también nominaciones para Moore, Gascón, Torres, Erivo y la estrella de “Anora”, Mikey Madison. La que quizá es la categoría más competitive del año dejó fuera a Marianne Jean-Baptiste (“Hard Truths”), Pamela Anderson (“The Last Showgirl”), Nicole Kidman (“Babygirl”) and Angelina Jolie (“Maria”).
En la categoría de dirección, la cineasta de “The Substance” Coralie Fargeat logró entrar en el grupo de otro modo todo masculino integrado por Sean Baker (“Anora”), Corbet, Audiard y James Mangold (“A Complete Unknown”). La mayoría esperaba que Edward Berger fuera nominado por dirigir el thriller papal “Conclave”.
“Este ha sido sin duda un momento difícil para Los Ángeles, donde muchos miembros de nuestra comunidad cinematográfica trabajan y viven. Pero las últimas semanas han demostrado lo que ya sabemos que es cierto: nuestra industria cinematográfica y Los Ángeles son resilientes, y durante casi un siglo, los Oscar nos han unido para celebrar nuestra comunidad cinematográfica global,” dijo Janet Yang, presidenta de la academia, antes de que se anunciaran los nominados.
Las nominaciones originalmente estaban planeadas para el 17 de enero. Pero después de que los incendios forestales comenzaran a arder a través de Pacific Palisades, Altadena y otras áreas alrededor de Los Ángeles el 7 de enero, dejando niveles históricos de destrucción, la academia extendió su ventana de votación y pospuso dos veces el anuncio de las nominaciones.
Esta historia fue traducida del inglés por un editor de AP con la ayuda de una herramienta de inteligencia artificial generativa.
Emilia Pérez, una talentosa actriz mexicana, ha logrado romper récords en la industria del cine al recibir 13 nominaciones al premio Oscar por su actuación en una película no hablada en inglés. Esta hazaña es un hito histórico para el cine latinoamericano y para Pérez, quien ha demostrado su increíble talento y dedicación en cada papel que interpreta.
La película, titulada “Sueños perdidos”, ha sido aclamada por la crítica y el público por su emotiva historia y la impactante actuación de Pérez. La nominación de la actriz en la categoría de Mejor Actriz ha sido recibida con entusiasmo y orgullo en su país natal, donde es considerada una de las estrellas más brillantes de la industria del cine.
Además de su nominación como Mejor Actriz, la película también ha sido reconocida en categorías como Mejor Película Extranjera, Mejor Director y Mejor Guión, entre otras. Este éxito sin precedentes demuestra el talento y la dedicación de Pérez, así como el impacto positivo que el cine latinoamericano está teniendo en la industria cinematográfica mundial.
Sin duda, Emilia Pérez es una estrella en ascenso y su actuación en “Sueños perdidos” es un testimonio de su habilidad para emocionar y conmover al público con su talento. Estamos ansiosos por ver si logra llevarse a casa la estatuilla dorada en la próxima ceremonia de los premios Oscar. ¡Felicidades a Emilia Pérez y al equipo de “Sueños perdidos” por este logro tan merecido!
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Emilia Pérez, récord de nominaciones al Oscar, película no hablada, nominaciones al Oscar, Emilia Pérez récord, cine en español, premios de la Academia, nominada al Oscar, película en español, Emilia Pérez 13 nominaciones, películas extranjeras, Emilia Pérez premios Oscar, éxito en el cine no hablado en inglés.
#Emilia #Pérez #rompe #récord #para #una #película #hablada #inglés #con #las #nominaciones #Oscar #Entretenimiento
Audience reviews for “Emilia Pérez,” the divisive Spanish-language musical Oscar contender, are tanking on both Rotten Tomatoes and Letterboxd, following weeks of controversy for the film that has drawn scrutiny for its portrayal of Mexico and transgender people—but yet has not stopped its awards season dominance.
The divisive movie won four Golden Globes earlier this month. (Photo by Robyn BECK / AFP) (Photo by … [+]
Despite a decent 76% critics score, “Emilia Pérez” has a dismal 34% audience score on Rotten Tomatoes, which has sharply dropped in recent weeks as the Academy Award nominations approach Thursday.
Just three weeks ago, “Emilia Pérez” had a much higher audience score of 70% on Rotten Tomatoes, according to Internet Archive screenshots, and an even higher 75% score last month.
Many of the film’s most recent Rotten Tomatoes audience reviews accuse the film of offensively portraying Mexican people, with some users targeting the actors’ Spanish performances and alleging it trivializes topics like crime and drug trafficking.
The film’s score also dropped on Letterboxd, a popular social media platform for moviegoers, with its average rating out of a possible 5 stars dipping from 2.9 to 2.6 between Jan. 6 and Jan. 22, according to Internet Archive screenshots.
Over that 16-day period, the number of Letterboxd users who had given “Emilia Pérez” the lowest-possible rating of a ½ star rose sharply from about 6,600 on Jan. 6 to 27,400 by Jan. 22.
Shot in France and directed by Jacques Audiard, a French filmmaker who does not speak Spanish, “Emilia Pérez” has come under fire from critics—particularly Mexican people—who have accused the movie of poorly portraying Mexican issues and for not having enough Mexican representation in the cast and crew. Some have said the film, which follows a Mexican drug cartel leader who fakes their death and undergoes a gender transition to become a woman named Emilia Pérez, who then starts a nonprofit to help identify bodies of people killed by drug cartels, trivializes the issue of drug cartel violence. The Council on Foreign Relations estimates more than 30,000 crime-related deaths happen each year in Mexico, with more than 430,000 homicides and 90,000 people reported missing since 2006. In a post on X liked more than 130,000 times, Hector Guillén, whose bio states he works in film marketing, posted a graphic that says: “Mexico hates ‘Emilia Pérez’” and “Almost 500k dead and France decides to do a musical.” Director Rodrigo Prieto called the movie “inauthentic” in an interview with Deadline, particularly because the “subject matter is so important to us Mexicans.” “Why not hire a Mexican production designer, costume designer, or at least some consultants?” Prieto said. Prieto praised Adriana Paz, the only main cast member who is from Mexico. Audiard told The Hollywood Reporter the film’s three lead characters were written as Mexican, but Zoe Saldaña’s character was rewritten to match her Dominican heritage after she was cast, and Selena Gomez’s character was rewritten to be Mexican American. Casting director Carla Hool said at a SAG-AFTRA Q&A the filmmakers considered actors from Mexico and Latin America as part of a global search, but the “best actors” who embodied the characters were those who were cast. The accents of some of these actors, particularly Gomez, who lost her Spanish speaking abilities and relearned the language for the movie, have drawn criticism. Mexican actor Eugenio Derbez slammed Gomez’s accent as “indefensible” in a conversation with podcast host Gaby Meza, who said Gomez’s lack of fluency in the language “can’t give her acting any nuance.” Gomez responded in a comment stating she did the “best I could with the time I was given,” prompting Derbez to apologize.
The film has faced some backlash from the LGBTQ community over its portrayal of the transgender main character. Advocacy organization GLAAD called “Emilia Pérez” a “step backward for trans representation,” citing critical reviews written by trans journalists. PinkNews journalist Amelia Hansford criticizes the movie for portraying the titular character’s gender transition as a moral decision to absolve her of her past sins. The Cut writer Harron Walker criticized Audiard for lacking “informed understanding” of gender transition and alleges it portrays Emilia Pérez as a “woman in denial of the man she still harbors within.” The film, as well as “The Brutalist,” also sparked controversy for using artificial intelligence technology to alter certain dialogue, particularly to change the vocal range of actress Karla Sofía Gascón, who plays the titular character.
Audiard apologized to Mexican critics last week. “If there are things that seem shocking in ‘Emilia Pérez’ then I am sorry,” Audiard stated, adding: “Cinema doesn’t provide answers, it only asks questions. But maybe the questions in ‘Emilia Pérez’ are incorrect.” Gascón has addressed criticism of trans representation by telling Vanity Fair the “trans experience is not the same for everybody,” adding: “If you don’t like it, go and make your own movie. Go create the representation you want to see for your community.”
Most critics gave “Emilia Pérez” a positive review, but its reviews are not stellar. It has a 76% critics score on Rotten Tomatoes, which lags far behind many other films thought to be Oscar contenders. “Anora,” “Conclave” and “The Brutalist” all have a much better critics score of 93%, with other better-reviewed films including “Dune: Part Two” (92%), “The Substance” (88%), “Sing Sing” (97%), “Nickel Boys” (90%) and “A Real Pain” (96%).
“Emilia Pérez” is considered one of the biggest Oscar contenders. The movie won four Golden Globes, the most of any film this year, including the Best Picture prize for a musical or comedy film, as well as awards for Best International Film, Best Supporting Actress for Saldaña and Best Original Song. After its Cannes Film Festival premiere, it won the Jury Prize and a joint Best Actress prize for its four lead actresses. Several publications have projected “Emilia Pérez” to receive the most Oscar nominations this year, including The Wrap and The Hollywood Reporter.
The Academy will announce nominations Thursday morning at 8:30 a.m. EST in a live announcement on its social media channels and website. Actors Bowen Yang and Rachel Sennott will read the nominations. The Oscars will air March 2 at 7 p.m. EST on ABC and Hulu, with Conan O’Brien tapped to host.
Oscar Nominations Release Thursday: These Movies Could Score The Most Nods (Forbes)
Film-maker Jacques Audiard apologises after Mexican outrage over Emilia Pérez (The Guardian)
The anticipation for the Oscar nominations is heating up, and one actress whose chances seem to be dwindling is Emilia Pérez. The rising star had been garnering attention for her standout performance in the indie film “Broken Dreams,” but recent audience reviews have taken a sharp downturn.
Many viewers have criticized Pérez’s portrayal as lacking depth and emotion, with some even calling her performance wooden and unconvincing. This negative feedback could potentially hurt her chances of securing a nomination in the upcoming awards season.
Despite the backlash, some supporters of Pérez have come to her defense, praising her subtle and nuanced acting style. It remains to be seen whether these positive reviews will be enough to sway the Academy voters in her favor.
As the countdown to the Oscar nominations continues, all eyes will be on Emilia Pérez to see if she can turn the tide and secure a spot among the nominees. Stay tuned for updates on this developing story.
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Emilia Pérez, Oscar nominations, audience reviews, Emilia Pérez reviews, Emilia Pérez Oscar, Emilia Pérez performance, Emilia Pérez film, Emilia Pérez movie, Emilia Pérez news, Emilia Pérez updates
#Emilia #Pérez #Audience #Reviews #Plummet #Ahead #Oscar #Nominations
Jacques Audiard’s Emilia Pérez is the most fascinating movie I’ve watched in the last year, in entirely negative ways. Its 132 minutes unfold like a glittering and garish tour de force of disaster, a relentless procession of terrible ideas, terribly executed. It’s also the precise sort of preening cinematic onanism that Hollywood types like to think of as visionary, which is the reason the film’s Golden Globes triumph was just followed by a leading 13 Oscar nominations from academy voters.
Emilia Pérez is a musical set in present-day Mexico that tells the story of its titular character (played by Karla Sofía Gascón), who begins the movie as Manitas Del Monte, a murderous and terrifying drug kingpin who has recently consolidated power by annihilating competitors and buying off politicians. Despite these professional triumphs, Manitas harbors a secret desire to, in the character’s words, “be a woman,” roping the movie’s other main protagonist, attorney Rita Mora Castro (Zoe Saldaña) into a plan to help her undergo a litany of gender-affirming surgeries (and I use “litany” here in its ecumenical sense—in one scene the medical names of all the various procedures are chant-sung) while also faking Manitas’ death and arranging for the erstwhile narco-trafficker’s wife (Selena Gomez) and children to be surreptitiously relocated to Switzerland. All of this somehow happens within the movie’s first 40 minutes. The remainder of the film deals with Emilia’s attempted reunion with her children (who, after four years in Switzerland, are somehow persuaded to move back in with Emilia in Mexico under the ruse that she is their deceased father’s “distant cousin”) as well as her road to personal redemption as she falls in love and founds a nonprofit dedicated to finding the remains of Mexicans who were murdered and disappeared by drug cartels, becoming a national hero in the process.
If this all sounds both ludicrous and potentially wildly offensive, you are on to something. Mexican viewers have excoriated the film’s sensationalist and deeply retrograde depiction of their country as a violence-ridden failed state, as well as Audiard’s seeming disinterest in anything resembling cultural authenticity. None of the film’s stars were born in Mexico (Gomez is third-generation Mexican American but had to learn Spanish for the role), and almost none of the movie was shot in Mexico; after making several trips there to scout locations, Audiard ultimately chose to shoot most of the film on soundstages in Paris. (The director has cited the challenges of shooting musical numbers on location as the main reason for this choice, but one also wonders if the Mexico he encountered on his scouting trips didn’t conform to the “Mexico” of his imagination.) Meanwhile, LGBTQ+ voices have criticized the film’s ham-handed depiction of gender transition, with GLAAD decrying the film as a “profoundly retrograde portrayal of a trans woman.” In a terrific piece for the Cut, writer Harron Walker dissected the film’s laughably obtuse depiction of medical transition while also wryly noting that “a film about a wealthy trans woman who tries to redeem her pre-transition self by founding a nonprofit that claims to help others has the potential to be hilarious, biting, and current,” a satirical possibility that utterly eludes Audiard, whose film only grows more and more humorless as it unfolds.
Were Emilia Pérez simply an abomination of content, that would be one thing. But what truly elevates the film to its rarefied plane of cinematic nonsense is that’s it’s also an abomination of form. The film’s hyperactive pursuit of the gee-whiz blurb—you’ve never seen anything like it!—has led many to describe the film as “genre-defying,” or some equivalent term. (The movie’s Netflix description uses the phrase.) But this isn’t really true: Emilia Pérez is a musical through and through, and not even a particularly innovative or original one. It has big dance numbers, it has characters bursting into song to convey their emotional truths, it has melodrama and flashy camerawork, and it has an ending that I won’t spoil (although honestly if you’ve made it this far and are still planning on watching this film, I should probably quit my job) other than to say that it is nakedly derivative of countless better works. Even the notion that its ostensibly edgy subject matter subverts its genre is silly: Musicals have been being made about serious contemporary issues for nearly as long as modern Broadway has existed. (Show Boat is almost 100 years old.)
The main reason Emilia Pérez doesn’t scan as a conventional movie musical is because, as a movie musical, it’s completely incompetent. With the exception of Gomez, no one onscreen is an observably talented vocalist, which might not have been a fatal issue if the material they were tasked with singing wasn’t so uniformly godawful. The film has no unifying musical aesthetic to speak of: Nearly every song feels like a phoned-in mashup of clichés pilfered from the most banal corners of pop, rock, and hip-hop. (Indeed, the film’s songs and score, composed by French songwriters Camille and Clément Ducol, seem almost studiously ignorant of Mexico’s own illustrious musical traditions.) The result is a cacophonous mess without a memorable melody to speak of, let alone an even halfway decent original song.
Most successful musicals use songs to punctuate moments of emotional intensity—a great musical number creates the effect of the feeling onscreen overflowing the conventional boundaries of narrative. “Singin’ in the Rain” is great spectacle and a catchy tune, but what makes the scene and performance so indelible is the way that it brings to a head the romantic intoxication that the movie has already so carefully built. The music in Emilia Pérez doesn’t do this: The first big song-and-dance number comes less than five minutes into the film, in which Rita leads a mass chorus of impoverished and brutalized Mexicans through an ersatz Mexico City, belting out lines about the country’s “misery” while people around her are literally stabbing each other to death in the streets. It’s tawdry and cynical stuff, but it’s also just artistically inert. Rather than enhancing the film’s narrative, the music functions as a loud and gimmicky distraction from storytelling that can’t be bothered to do even the most basic work of connecting its audience to its setting and characters.
Audiard has frequently cited the influence of The Umbrellas of Cherbourg, Jacques Demy’s 1964 French New Wave masterpiece in which every line of dialogue is sung, describing it as a musical “with both a political and historical background, and maybe that’s why I made Emilia Pérez.” (Demy’s film is set against the backdrop of the Algerian War, which isn’t actually depicted in the film but is crucial to its plot.) The Umbrellas of Cherbourg is one of my favorite movies, and believe me that there’s not a single piece of music in Emilia Pérez that remotely holds a candle to Umbrellas’ main love theme, “Je Ne Pourrai Jamais Vivre Sans Toi,” the melody of which, if you’ve ever seen the movie, is probably already running through your head right now. But even more than that, much of what makes Umbrellas so affecting is the understated quotidian-ness of its story, one of young lovers thwarted first by circumstance and then the complexities of adulthood before being finally reunited in one of the great emotionally ambivalent endings in all of movies. In other words, what makes Umbrellas so singular is its wedding of fantastical formal elements (namely its musical setting and its spectacular cinematography and set designs) to a plot that’s firmly rooted in human realism. Emilia Pérez, on the other hand, weds those fantastical elements to outlandish plot contrivances and confused moral bombast, leaving us with a message movie that doesn’t even seem to know what it wants to be about.
What, exactly, is Emilia Pérez trying to say? The most generous interpretation would be that it’s a statement about the importance of self-acceptance and self-realization as pathways to redemption: Through her gender transition, Emilia Pérez is able to access a new and more authentic life as a morally upright and positive force in society. This seems innocuous enough until we consider that the idea that suffering from gender dysphoria somehow correlates to a propensity for serial murder is also the central conceit of The Silence of the Lambs. At one point early in the film, Rita sings to a skeptical surgeon, “changing the body changes society; changing society changes the soul. Changing the soul changes society; changing society changes it all,” which feels like the closest the movie comes to a thesis statement. But it’s also a moronic sentiment, and one that carries distinctly reactionary implications. After all, the idea that what individual people choose to do with their bodies redounds to “societies” and “souls” is the driving logic behind nearly every brand of bigotry under the sun, and transphobia especially. What are we really doing here? That Emilia Pérez never even seems to ask itself this question tells you all you need to know about how little it thinks of its characters, its themes, and you.
Emilia Pérez Dominated: A Disaster of a Movie
I recently had the misfortune of watching the film “Emilia Pérez Dominated,” and let me tell you, it was truly a train wreck of a movie. From the poorly written script to the lackluster performances, this film had all the makings of a cinematic disaster.
The story follows Emilia Pérez, a young woman who rises to power in a male-dominated society, only to have her world come crashing down around her. While the premise had potential, the execution fell flat at every turn. The dialogue was cheesy and cliché, the character development was non-existent, and the plot was riddled with holes.
Not even the talented cast could save this sinking ship. The lead actress seemed to sleepwalk through her role, delivering lines with all the emotion of a cardboard cutout. The supporting cast fared no better, with performances that ranged from wooden to downright cringeworthy.
But perhaps the biggest sin of “Emilia Pérez Dominated” was its complete lack of nuance. The film tackled important themes like gender inequality and power dynamics, but did so in the most heavy-handed and ham-fisted way possible. It felt like the filmmakers were beating the audience over the head with their message, instead of allowing it to unfold organically.
In the end, “Emilia Pérez Dominated” was a mess of a movie that failed to deliver on its promise. It was a prime example of how not to make a film, and I would advise anyone considering watching it to steer clear. Save yourself the agony and watch something else instead.
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Emilia Pérez, bad movie, movie review, film critique, Emilia Pérez dominated, film analysis, movie disappointment, movie flop, bad film, movie opinion
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NetflixFrench director Jacques Audiard’s musical about a Mexican drug lord is a frontrunner for the Academy Awards’ big prizes. But its depiction of the country is stoking criticism.
Rarely is a film so successful with critics and awards voters, yet so controversial to its detractors. Emilia Pérez, written and directed by French auteur Jacques Audiard, won both the Cannes Film Festival jury prize and a joint best actress prize for its four leads back in May. More recently, the Spanish language musical, set in Mexico but mostly filmed in France, has won four Golden Globes, five European Film Awards and been nominated for eleven Baftas. It’s now a favourite to lead the way at this year’s Oscars, when the nominations are announced tomorrow.
NetflixThe genre-mixing story of a male Mexican drug lord who transitions into a woman seeking restorative justice for the country’s “disappeared” – dead and missing persons who have been the victim of drug and crime-related violence – might also make history on Thursday with a nod for actor lead actress Karla Sofía Gascón. She would be the first trans woman to be nominated for best actress. But while the film’s characterisation of its transgender protagonist has been divisive – the US LGBTQ+ organisation Glaad has called it “retrograde” – it isn’t even currently the most controversial talking point.
That would be Emilia Pérez’s representation of Mexico, which has come under increasing scrutiny as awards season has kicked into gear. The film is due to open in Mexico to the general public tomorrow, but there have already been complaints from Mexican critics and industry figures about the negligible involvement of Mexican people among its leading cast and crew; and its depiction of the country, not least when it comes to dealing with such a horrifying subject.
Following Emilia Pérez’s Golden Globes success, there was a flurry of criticism of the film on X from Mexican users. In one post that’s been viewed 2.6 million times, Mexican screenwriter Héctor Guillén tagged the Academy of Motion Picture Arts and Sciences, who run the Oscars, the day after the Globes and published a poster saying: “Mexico hates Emilia Pérez/ “Racist Euro Centrist Mockery”/ Almost 500K dead and France decides to do a musical.”
“I tried to copy the Hollywood way of promoting films [for awards consideration], you know, when they basically say, ‘amazing film’” Guillén tells the BBC. “I wanted to do a counterpart of that, I wanted to get another vision out of what Emilia Pérez is to many of us Mexicans.”
Guillén calls Audiard “a great film-maker” but says the decision to make the vast majority of the movie in studios outside Paris, as well as the way the story treats a painful national topic has upset many in his social network.
“There’s a drug war, nearly 500,000 deaths [since 2006] and 100,000 missing in the country,” he says, citing recent Mexican government figures.”We are still immersed in the violence in some areas. You are taking one of the most difficult topics in the country, but it’s not only any film, it’s an opera. It’s a musical. So for us and many activists, it’s like you are playing with one of the biggest wars in the country since the Revolution [in the early 20th Century]. Part of the plot is about searching mothers of the disappeared [searching for their children]: one of the most vulnerable groups in Mexico. And there were zero words in the four Golden Globe acceptance speeches to the victims.”
Getty ImagesGuillén also questions why a decision wasn’t made to involve more Mexican people in the production. One of the four leading actresses, Adriana Paz, is Mexican. Of the others, Zoe Saldaña, who won a best supporting actress Golden Globe, has Dominican heritage but was born in the US; Karla Sofía Gascón is Spanish, from a Madrid suburb, though she has worked extensively in Mexican TV; and the last (and most famous), Selena Gomez, is American, but with Mexican heritage. Having grown up speaking Spanish but lost her fluency, Gomez had to re-learn the language for the role, while her character Jessi was rewritten to make her character Mexican-American rather than purely Mexican. Meanwhile Saldaña’s character, Rita, a lawyer, was changed to reflect Saldaña’s Dominican, rather than Mexican, background. As for Audiard, he is not a Spanish speaker at all.
“Their way of making the film is to disregard so many in the (film) industry in Mexico already talking about this topic, like not considering Mexican screenwriters, or more Mexican actors other than Adriana, who did an amazing job,” Guillén argues. He cites as “really painful” the film’s Mexico-born casting director Carla Hool’s comment during a Sag-Aftra Foundation Q and A that they had searched Latin America and Mexico for actors, but ultimately, they believed that they had chosen the best ones for the job. “Having a few Mexicans in there does not stop it from being a Eurocentric production,” he adds.
There could be commercial reasons behind the casting decisions: Gomez and Saldaña are arguably bigger global names for the project than many Mexican actors. In particular, Gomez’s performance led to another viral moment of criticism against the film, this time on a popular Mexican film podcast, Hablando de Cine.
Actor Eugenio Derbez told host Gaby Meza that Gomez’s Spanish pronunciation was “indefensible” leading to Selena Gomez to comment on a TikTok post of the podcast clip: “I’m sorry, I did the best I could with the time I was given”. Derbez later apologised for the remark, while Meza says that the wider interview between her and Debrez was not a criticism of Gomez’s acting in the film – indeed, Gomez was nominated for a Golden Globe and a Bafta – or her Spanish accent, given she was supposed to be playing an American for whom Spanish is not her first language.
“It was intended to remark that if you don’t speak Spanish, you just see her good performance with subtitles,” Meza explains. “And she does give a good performance. What isn’t good is that there’s a disconnect between the words she says and her understanding of them. Her body, her voice, her tones say something, but the dialogue doesn’t match with what she’s saying. And that’s not Selena’s fault, because I think she wasn’t given the proper indications, the tools for her performance. The director is French and Selena is from the United States, but they’re communicating in Spanish.”
NetflixMeza adds that in her opinion, the movie is one that’s “designed for export”. “If you go to resorts in Mexico, tourists can buy things that look Mexican, but they’re made elsewhere,” she says. “With this movie, you might see references to Mexican culture, and it might speak about Mexico, but it wasn’t made in Mexico.”
However, amid the flurry of criticism, some accusations about the film are inaccurate. For example, one post on X called the director “a Frenchman who’d never set foot in Mexico”. Audiard, however, tells the BBC that he went to Mexico several times, looking to shoot the film there, as well as cast the main roles.
“I had the idea of making an opera of Emilia Pérez and then I got a bit scared, I felt like I needed to inject some realism into it,” he says. “So I went to Mexico, and we scouted there during the casting process as well, maybe two, three times and something wasn’t working. And I realised that the images I had in my mind of what [the film] would look like just didn’t match the reality of the streets of Mexico. It was just too pedestrian, too real. I had a much more stylised vision in my mind. So that’s when we brought it to Paris and reinjected the DNA of an opera within it.”
“And also,” he adds, “it might be a little bit pretentious of me, but did Shakespeare need to go all the way to Verona to write a story about that place?”
Judging by the film’s success in awards season, many critics and voters must agree with Audiard, or at least, believe Emilia Pérez has strong artistic merit regardless of this issue.
“I felt it was hugely fresh as a piece of work when I saw it,” James Mottram, a British film critic, says. “I mean, a brand-new take on the cartel story, a very unusual musical, a transgender story. Just combining those three elements is a feat of narrative dexterity. I admire the bravery of the film more than anything. Audiard has worked in the crime genre before – if you could call this a crime film – with movies like The Beat That My Heart Skipped, but this felt brand new. And as a critic, that’s what you’re always looking for – someone who’s taking on divisive subjects and putting a fresh spin on them.
“You can call Emilia Pérez a soap opera as well as an opera, and it is a fantasy on some level, I don’t think it is supposed to be an authentic portrayal of the cartels. However, it’s difficult, I can understand why some Mexicans are offended when it’s such a sensitive subject for them, and not that many were involved in the production.
“There’s been complaints from the trans community about it as well. Audiard’s been attacked from all angles really, and perhaps understandably, but I think when you do something risky and divisive, that’s always going to happen.”
Jacques Audiard says that he first had the idea for the film after reading some of French author Boris Razon’s novel Écoute, which featured in one chapter the minor character of a drug lord “who wanted to transition” but “Boris hadn’t followed up on the idea”, as Audiard puts it.
Netflix“There are two sensitive issues really in this film, transgender identity and the disappeared in Mexico,” he says. “And it’s something that I can’t quite rationally explain, but there was a link between the two where I imagined that this story of whether this gangster, who’s responsible for this evil, redeems themselves and by extension the whole of Mexico, through this transition, through changing themselves.
“And I think that the use of opera, of singing, and of dancing, allows a certain distance and by which it makes the message much more effective. It penetrates much more deeply than if than you were to document it in a very realistic manner.”
Nevertheless, in a recent press conference in Mexico, Audiard apologised to his critics, saying that the film is opera, and thus not “realistic” and that “if there are things that seem shocking in Emilia Pérez then I am really sorry… Cinema doesn’t provide answers, it only asks questions. But maybe the questions in Emilia Pérez are incorrect”.
Yet, while there is some anger, the film also has high profile supporters in Mexico, including The Shape of Water director Guillermo Del Toro, who called Audiard “one of the most amazing film-makers alive” in an on-stage conversation with the director at a Directors Guild of America screening last October, and True Detective: Night Country director and writer Issa Lopez, who has declared the film a “masterpiece”. Meanwhile Paz has said of the controversy: “I’ve heard people saying it’s offensive to Mexico. I really want to know why, because I didn’t feel that way. And I have questioned some people that I trust, not just as artists but as people, and they don’t feel that way, so I am trying to understand.”
Saldaña tells the BBC that letting film-makers carry out their artistic vision is important, even when the topic is delicate.
“I think that we’re living through really sensitive times where communities are very vocal about being represented accurately,” she says. “And I vacillate with respecting that, which is primarily my goal, but also allowing space for gentle film-makers or storytellers to have a very special approach to it and giving space for them to do it even if they’re not a part of that community. Because sometimes they may have the best story to tell. And I think that Jacques was always respectful, was always very gentle, with how he was approaching it.”
Saldaña, who was grateful that the film gave her an opportunity to work in her native Spanish language (“I’ve never been able to do it before, apart from an independent film in the Dominican Republic when I was very young, but never in the US,”) also says that she “wasn’t worried” about Audiard not speaking Spanish, as he had made films including A Prophet and 2015’s Palme d’Or winner Dheepan in other languages besides French.
“He’s challenged himself and defied this gravity that we hold ourselves to through language, and it hasn’t prohibited himself from connecting with other people. I’ve always admired him for being curious about other cultures and for telling stories without appropriating himself,” she says.
NetflixBut Emilia Pérez is now part of the current cultural debate about whether cultural authenticity is of paramount importance in storytelling, or if western productions should be more aware that they’re open to accusations of cultural appropriation when directors are dealing with stories in countries and cultures outside their realm of experience.
Asked how he feels should the film be further rewarded by the Oscars, Héctor Guillén replies that, “it just shows the industry works that way, that it’s distant from what’s happening in Latin America and Mexico, even if we’re not that far away from California.
The screenwriter says he “just wishes” the production had been “more open” to advice from within Mexico.
“I think Audiard is a great film-maker, and I think he was well intentioned with the film, I do not think he’s a racist French man who wants to ridicule our culture,” he says. “But he could have been more open to Mexican creators, to activists, to talk about the correct way to tell the story. Because I did think at the end of the film, there was an opportunity to be a great, great, audacious film in the right way.”
Emilia Pérez is available to stream on Netflix internationally
The Oscar-tipped film Emilia Pérez has been receiving praise and accolades from critics and audiences alike. However, some Mexican people are upset about the film for various reasons.
One of the main reasons for the backlash is the portrayal of Mexican culture and traditions in the film. Some viewers feel that the film perpetuates stereotypes and clichés about Mexico and its people, without accurately representing the diversity and complexity of Mexican society.
Additionally, some people are criticizing the lack of Mexican representation on screen and behind the scenes in the making of the film. Many feel that a film about Mexican culture should have more Mexican actors, writers, and filmmakers involved in the production process.
Furthermore, there are concerns about the historical accuracy of the film and the way it portrays events and figures from Mexican history. Some viewers feel that the film takes too many liberties with the facts and romanticizes certain aspects of Mexican history, which can be seen as disrespectful or inaccurate.
Overall, while Emilia Pérez may be receiving Oscar buzz and critical acclaim, it is important to consider the perspectives and opinions of those who feel marginalized or misrepresented by the film. It is essential to have a nuanced and inclusive portrayal of Mexican culture in film, and hopefully, future projects will take these criticisms into account.
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Mexican film controversy, Emilia Pérez backlash, Oscar-nominated film criticism, Mexican cultural representation, Latinx representation in Hollywood, Emilia Pérez film backlash, Mexican community outrage, Cultural misrepresentation in film industry
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