Audiard
had
previously
addressed
the
criticism,
telling
CNN
en
Espanol
in
a
Jan.
15
interview,
“If
there
are
things
that
seem
shocking
in
Emilia
Pérez then
I
am
sorry.
Cinema
doesn’t
provide
answers,
it
only
asks
questions…But
maybe
the
questions
in
Emilia
Pérez
are
incorrect.”
Gascón,
however,
challenged
the
film’s
critics
to
go
make
their
own
movie.
“Being
LGBTQ,
having
those
labels,
does
not
remove
your
stupidity,
just
like
heterosexuality
does
not
remove
your
stupidity,”
she
told Vanity
Fair
in
December.
“What
bothers
me
is
that
the
people
that
say
things
like
that
[are]
just
sitting
down
at
home
doing
nothing…Go
create
the
representation
you
want
to
see
for
your
community.”
Meanwhile,
none
of
the
above
prevented
the
movie
from
racking
up
accolades,
including
a
field-leading
13
Oscar
nominations.
“What
shocked
me
is
that
either
people
haven’t
seen
the
film
properly,
or
they
haven’t
seen
it
at
all
and
are
acting
in
bad
faith,”
Audiard
told
Deadline
in
an
interview
published
Feb.
5. “The
representation
of
the
cartels
in
the
film
is
thematic.
It’s
not
something
that
I’m
particularly
focused
on
in
the
film.
There’s
one
scene
that
deals
with
it.”
Opera,
he
emphasized,
requires
strong
stylization. “It
seems
I’m
being
attacked
in
the
court
of
realism,”
he
said. “Well,
I’ve
never
claimed
that
I
wanted
to
make
a
realistic
work.”
If
he
had
a
regret,
Audiard
noted,
it
was
that
they
didn’t
film
in
Mexico,
but
funding
options
were
simply
better
in
France.
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