Despite being an early Oscar frontrunner, Emilia Pérez, Jacques Audiard’s ambitious Mexican cartel transgender musical, walked away with just two Academy Awards out of 13 nominations. However, the film saw a very different reception in France, where it dominated the César Awards, winning seven trophies, including Best Film and Best Director.
So, why did Emilia Pérez falter at the Oscars while thriving at the Césars? The answer lies in a combination of controversy, cultural differences, and industry dynamics.
A Historic Oscar Nomination Overshadowed by Controversy
Going into the 97th Academy Awards, Emilia Pérez had already made history. Its 13 nominations were the most ever for a non-English-language film, surpassing Crouching Tiger, Hidden Dragon and Roma (each with 10). It was even close to the all-time record of 14 nominations, held by Titanic, La La Land, and All About Eve.
But the film’s Oscar campaign took a dramatic nosedive after Karla Sofía Gascón, the film’s lead and the first openly trans person nominated for an acting Oscar, became the center of controversy. Just one week after nominations were announced, resurfaced racist and anti-Muslim tweets from Gascón sparked backlash. The fallout derailed the film’s momentum, with Netflix scrambling to distance itself from Gascón and minimize her presence in award promotions.
As a result, Emilia Pérez secured just two Oscars:
- Best Supporting Actress (Zoe Saldaña)
- Best Original Song (“El Mal”)
Even Oscar host Conan O’Brien joked about the scandal during the ceremony, saying:
“Anora uses the F-word 479 times. That’s more than the record set by Karla Sofía Gascón’s publicist.”
Why France Embraced ‘Emilia Pérez’ at the César Awards
While the scandal shook Hollywood, it had far less impact in France, where Emilia Pérez received seven César Awards, including:
- Best Film
- Best Director (Jacques Audiard)
- Best Adapted Screenplay
Unlike at the Oscars, where competition was fierce (Anora and The Brutalist were major contenders), the French Best Film category featured weaker rivals. The biggest competition came from Boris Lojkine’s Souleymane’s Story, a small-budget refugee drama, which won four awards but couldn’t match Emilia Pérez’s industry support.
Additionally, France’s film industry operates differently from Hollywood:
- Less emphasis on “cancel culture” – While Gascón’s controversy was reported, it didn’t spark the same backlash in France.
- Stronger focus on auteurs – French awards celebrate directors over actors, and Audiard is a respected figure with 13 Césars over nine films.
- Smaller awards campaigns – Unlike the Oscars, where multi-million-dollar campaigns shape the race, the Césars rely more on critical acclaim and filmmaker reputation.
The Difference Between Winning an Oscar and a César
Winning an Oscar can transform careers and boost box office revenue, as seen with The Brutalist, which grossed $41 million globally after its Oscar run. Meanwhile, a César win, while prestigious, rarely impacts commercial success.
“Winning a César is nice for bragging rights, but it doesn’t move the needle in terms of business,” said a European sales agent.
In contrast, winning the Palme d’Or at Cannes or an Oscar is far more valuable for a film’s commercial fate.
The stark contrast in Emilia Pérez’s reception at the Oscars vs. the Césars highlights the different priorities of Hollywood and the French film industry. While the U.S. system is heavily influenced by public perception and PR scandals, France remains more focused on filmmaking merit and auteur-driven storytelling.
Would the film have performed better at the Oscars without the controversy? Possibly. But in the end, Emilia Pérez still found recognition in France, solidifying Audiard’s place in César history.
