Chanter l'inconfort : mélodies de discorde dans Emilia Pérez, la comédie musicale qui agite le Mexique

Abstract

The French film Emilia Pérez by Jacques Audiard has sparked strong controversy in Mexico due to its musical treatment of critical issues such as narcotrafficking, corruption, and violence. Perceived as superficial and exoticizing, the film has drawn criticism for its use of artificial Spanish, stereotyped depictions, and lack of Mexican voices. In response, the trans Mexican artist Camila D. Aurora created Johanne Sacreblu, a satirical musical reversing the codes of exotification. This article explores how discomfort becomes a form of political clarity and analyses the ethical limits of intercultural representation through the lens of both productions.