Without fail, awards season always stirs controversy — whether it’s a physical altercation, a movie snub or a misallocated award. That being said, it seems almost fitting that this year the drama is entirely political, centering around the film Emilia Pérez.
The movie has garnered incredible support from critics, receiving 10 Golden Globe nominations, two Cannes awards and 13 Oscar nominations — including the three highly coveted awards of Best Director, Best Picture and Best Leading Actress. However, many audience members are unabashedly sharing their dislike for the musical comedy. With the all-Spanish film following a transgender cartel leader, it’s clear how numerous the potential risks are. Beyond the overarching plot, there are many creative choices, such as the jarring song breaks and unflinching queer representation, that defy and challenge industry norms.
Although I am one of the viewers who struggles to understand the critical acclaim, I find Karla Sofía Gascón’s nomination for Best Leading Actress fitting and well-deserved. Her performance was captivating despite some of her scene partners’ lackluster acting and a script that often demonstrated an absence of trust in the audience’s deductive skills. Ultimately, I believe her title as the first transgender woman to be nominated in the category is more than justified.
Disappointingly, a prominent population of conservatives is entirely overlooking Gascón’s talent and has taken to blatant transphobia against both the actress and The Academy. Megyn Kelly, a political commentator and previous FOX News host, publicly demeaned Hollywood’s decision in an inane rant during which she repeatedly and intentionally misgendered Gascón and used slurs to describe the movie itself. Upon discovering this, I was horrified at how unsurprised I was. In America’s increasingly hostile and polarized political climate, opposing voters have lost all common ground, and marginalized communities are caught in the crossfire. Kelly’s tirade is further proof of this phenomenon.
I believe at the heart of this issue is President Donald Trump, who has exploited both America’s complex history with transphobia and his immense influence. His active anti-transgender rhetoric as well as the issue of an executive order refusing to acknowledge these individuals is destined, and possibly even designed, to propagate hate. It is a dire and devastating time for the transgender community, but this Oscar controversy may be the reminder necessary to encourage artistic expression as a means of identity preservation, cultural connection and rebellion.
Whether knowingly or not, it is probable that many of us have enjoyed art created by transgender individuals. From Hunter Schafer’s role in Euphoria to Ethel Cain’s haunting discography, it is clear this community is not less talented simply because they are underrepresented in artistic media. More often than not, they’re refused the very same platforms and opportunities that are handed to cisgender artists. Gascón’s award-winning performance is the most recent addition to a long history of exceptional queer media.
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While grieving the recent discriminatory actions, policies and beliefs imposed by the federal government is important for queer individuals, it is equally crucial to recognize this hatred and persevere in spite of it. The transgender community will not cease to exist merely because Trump wills it so. By assuming that a simple rhetorical shift in the political narrative will alter an entire collective’s identity, he reveals just how little education he has amassed on the matter.
Ultimately, this awards season acts as a direct rebuttal to the hatred of today. People will continue consuming and producing queer art no matter the political climate: Not because it is the right or noble thing to do, but because it is nothing short of extraordinary.
Mia Roman-Wilson is a freshman in the College of Arts and Sciences. She can be reached at [email protected].