Should France Submit ‘The Count of Monte Cristo’ or ‘Emilia Perez’ to the Oscars?

As a cinephile who has spent countless hours immersed in the rich tapestry of French cinema, I find myself captivated by the intrigue surrounding France’s selection for the upcoming Oscars. On one hand, we have the critically acclaimed and award-winning “Emilia Perez,” a film that resonated deeply at Cannes and has garnered rave reviews. On the other, we have the sweeping epic adventure of “The Count of Monte Cristo,” a film steeped in French literature and history.

Following their failure to submit “Anatomy of a Fall” as their entry, France’s restructured Academy is under pressure to seize the chance and secure the country’s first Oscar for Best International Feature in over three decades. However, don’t anticipate them opting for an expected pick.

In essence, Jacques Audiard’s gripping redemption thriller “Emilia Perez,” which garnered two significant awards at Cannes and received glowing accolades, is widely anticipated to succeed. Audiard, a highly esteemed French filmmaker who has previously won a Palme d’Or for “Dheepan” and been nominated for a foreign-language Oscar with “A Prophet,” enjoys global recognition. The movie, featuring Karla Sofía Gascón as a powerful drug lord transitioning into her true female identity, resonated deeply at Cannes, where it received one of the longest standing ovations this year. This Spanish-language production ultimately secured the Jury Prize (under Greta Gerwig’s presidency) and the Best Actress Award for its ensemble cast, which includes Gascón, Zoe Saldaña, Selena Gomez, and Adriana Paz.

Another contender for France’s international feature submission is “The Count of Monte Cristo,” a grand three-hour adaptation of Alexandre Dumas’ timeless novel. This epic adventure film has sparked discussions due to its potential strength in the competition. Directors Matthieu Delaporte and Alexandre de la Patellière may not boast the illustrious backgrounds as Audiard, but they are highly respected figures within France, having written the two-part series “The Three Musketeers.”

Could “The Count of Monte Cristo” potentially outshine or even surpass “Emilia Perez”? Here’s one reason why this might be possible: Last year’s committee chose “The Taste of Things” over “Anatomy of a Fall,” and there are similarities that could favor “The Count of Monte Cristo.” To start, it is more authentically French than “Emilia Perez.” This means that it was filmed in France with local actors, capturing the essence of the country’s stunning landscapes. Additionally, it is adapted from a renowned work of French literature, further enhancing its ties to French culture.

A few of the 11 committee members might think that “The Count of Monte Cristo” may resonate with older Oscar voters who have a sentimental attachment.

Apart from the positive reviews, “The Count of Monte Cristo” is also propelled by a successful run at the box office that “Emilia Perez” hasn’t achieved yet. The former debuted in France on August 21 and sold 45,353 tickets, including 8,780 from early screenings. However, “The Count of Monte Cristo” has already secured its place as a French box office hit, having earned nearly $60 million from over 7 million tickets within France since its release on June 26.

As a film enthusiast who has spent countless hours watching and discussing films with fellow cinephiles, I strongly support France’s decision to expand its Oscar committee from seven to 11 members and five alternates. This change aims to eliminate any potential bias that may arise from personal or professional connections within the film industry.

However, it’s not just external pressures that shape decisions; internal biases and assumptions also play a significant role. For instance, the French committee’s presumptions about the preferences of American voters have frequently influenced their decision-making process, regardless of whether these suppositions align with the actual situation.

For “Emilia Perez,” some French individuals might perceive it as a risky decision. They could worry that the Oscar campaign may be tainted with issues, given Audiard’s lack of personal experience with the transgender community and his upbringing in France, distant from Mexican cartels. However, thus far, the primary criticism Audiard has encountered regarding “Emilia Perez” has been from transphobic French politicians, such as Marion Marechal-Le Pen, who have made offensive comments on social media platforms. These remarks have led Gascón to initiate a lawsuit in Paris.

Intriguingly, both “Anatomy of a Fall” and “Emilia Perez” share a striking resemblance that could, ironically, work against their selection by the French committee. This similarity lies in the fact that Netflix will showcase Audiard’s movie in significant categories, just as Neon did with “Anatomy of a Fall.” Given this, I believe it’s only fair for “Emilia Perez” to compete for major awards like actress, original screenplay, director, and picture. By doing so, “Monte Cristo” will have the chance to shine in the international feature film race, showcasing its unique strengths and standing out amongst its competitors.

Netflix, having acquired “Emilia Perez” for distribution in the U.S. and U.K., and rumored to invest heavily in its promotion, now faces the challenge of persuading members of the French committee. This group will also consider the case made by Samuel Goldwyn Films for “The Count of Monte Cristo.”

As a dedicated film enthusiast with years of experience in the industry, I must say that this year’s cinematic landscape is particularly intriguing. The involvement of Pathé in both “Emilia Perez” and “The Count of Monte Cristo” presents an interesting conundrum. Having worked with studios in similar situations before, I can empathize with the potential loyalty dilemma that Pathé might face as it chooses to prioritize one project over the other.

2024-08-23 18:48

Should France Submit ‘The Count of Monte Cristo’ or ‘Emilia Perez’ to the Oscars?

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