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‘Boys Don’t Cry’ at 20: rethinking trans actors
Cis actress Hilary Swank won the Oscar playing a trans man but would it happen today?
It’s been 20 years ago this month since the release of “Boys Don’t Cry,” the Fox Searchlight movie that depicted the true story of Brandon Teena, a trans man played by Hilary Swank, who adopts a male identity in Nebraska but is murdered in a hate crime.
Directed by Kimberly Peirce, whose interest was piqued by a 1994 Village Voice article about Teena, the film was made for $2 million and made $20 million at the box office. It premiered Oct. 8, 1999 at the New York Film Festival and went into wider release later in the month.
Swank won a bounty of awards for the role including prizes from the New York Film Critics Circle, the Chicago Film Critics, the Boston Society of Film Critics, the Independent Spirit Award, the Golden Globe and the Oscar. It was both widely praised in reviews at the time and holds an 88 percent fresh rating on Rotten Tomatoes.
It’s unlikely, though, that Swank would get cast in the role were it made today. With trans actresses Mj Rodriguez, Indya Moore, Dominique Jackson, Hailie Sahar and Angelica Ross having been cast on the Ryan Murphy FX drama “Pose,” and Scarlett Johansson all but forced to withdraw last year from her planned movie “Rub & Tug” (she was to play a trans character based on Dante Gill, who ran massage parlors in the ‘70s and ‘80s that were brothel fronts) after a backlash ensued, many say it’s a new day for trans actors. Of Johansson, trans actress Trace Lysette (Shea on “Transparent”) wrote on Twitter, “Not only do you play us and steal our narrative and our opportunity but you pat yourselves on the back with trophies and accolades for mimicking what we have lived.”
Cisgender backlash
Elle Fanning drew ire the year before for being cast in “3 Generations” as Ray, a female-to-male trans teen. A groundswell had been building with actors like Matt Bomer in “Anything” (2017), Eddie Redmayne in “The Danish Girl” (2015) and Jared Leto in “Dallas Buyers Club” (2013) drawing muted but present backlash.
Conversely, on TV, trans actress Candis Cayne earned the distinction of being the first trans actress to play a recurring trans character on a primetime show when she played Carmelita on ABC’s short-lived “Dirty Sexy Money” (2007-2009). Trans actress Nicole Maines plays the first trans superhero as Dreamer/NiaNal on The CW’s “Supergirl.” In its latest report, GLAAD says there are 26 trans characters currently on TV, vs. 17 in its previous report.
Leto ended up winning a Best Supporting Actor Oscar for his role. Redmayne won the Best Actor Oscar for his and back in 2005, Felicity Huffman was nominated for playing trans in “Transamerica.” A trend was clearly at play — playing trans is Oscar catnip for cisgender actors.
That’s a problem, working trans actors today say.
“The Academy seems to see it as some heroic transformation, but is it any more a feat of acting than what, say, Daniel Day-Lewis did as Lincoln, or any number of great performances you could name,” says Samy Nour Younes, a trans male stage and screen actor in New York. “Beyond the fact that they’re playing another gender identity, the roles are usually not that good. If you watch ‘Boys Don’t Cry,’ ‘Transamerica’ or ‘Dallas Buyers Club,’ which is the worst among them, they’re not particularly well written characters period, not because they assumed a marginalized identity, but we think there’s something inherently taboo or exotic, but in a stigmatized kind of way, about it. Like, ‘Oh, you’re so brave, you deserve an Oscar,’ when it actually wasn’t that great.”
Younes says “Transparent,” the hit 2014-2019 (it just wrapped with a musical finale on Amazon Prime Video Sept. 27) show on which he guested twice in its fourth season, was a game changer just before “Pose” hit big. Although cis actor Jeffrey Tambor played Maura, a retired college professor who comes out as trans, creator Jill Soloway enacted a “transfirmative action program” for the show (cast and crew) where trans applicants were hired in preference to cis applicants. Tambor (“The Larry Sanders Show,” “Arrested Development”) left the show in late 2017 amid sexual misconduct allegations.
“Just letting trans people in the room — directors, writers, consultants — makes a huge difference,” Younes says. “That’s when we start getting layered and nuanced characters that tell stories beyond their transitions, with interesting people. We’re seeing less and less of a need for the Eddie Redmaynes of the world who say, ‘Oh, I did so much research,’ which I call bullshit on that because if you’d really done so much research, you’d have an understanding that we’re not just some costume you can slip on which just helps solidify the Academy’s thinking that that’s all it is and playing trans becomes a farce.”
The casting conundrum
Tammara Billik, a veteran Hollywood casting director known for her work on “Married … with Children” and the famous coming-out episode of “Ellen” in 1997, says things have come a long way since the “Boys Don’t Cry” era.
For one, she says, TV has come into a “golden age” that has “provided a lot more opportunities for all kinds of inclusive roles.”
“Not just with ‘Pose’ and ‘Transparent,’ but now there are a number of trans actors,” Billik, a lesbian, says. “I just read something about their being a trans actor in a series regular role on ‘The Politician’ with Ben Platt. I didn’t know anything about that. It’s happening without a big splash, it’s happening on weekly shows, so I think there is tremendous progress in terms of the trans actor community, particularly on TV.”
Film, she says, is different.
“When ‘Boys Don’t Cry’ came out, gosh, I don’t think I knew a trans actor at the time. … It certainly wouldn’t have been a time when a trans actor would have been cast. Now you would be hard pressed to cast that role with a cis actor,” Billik says. “You just wouldn’t do it, right?”
She says the Johansson episode was “a giant shift.”
“In both a good and bad way,” Billik says. “It’s good for the actors and a good way to show more diversity on television but we’ve also seen a backlash against particularly trans women of color. I’m not saying ‘Pose’ is responsible for it, but people get angry when you show them the truth. We’re all wondering why so many trans women of color are being targeted for violence. Is it because we’re seeing their images more on TV, is it because people have been emboldened by Trump? I don’t know the answer to that.”
It’s an issue GLAAD has been working on for years. Nick Adams and Alex Schmider, GLAAD’s Transgender Media Program team, work with TV networks, production companies, showrunners, script writers, casting directors and agencies as well as PR firms to help bring what it calls “fair and accurate representations for transgender people to the screen.”
They say things are improving dramatically.
“Hollywood is beginning to tell more accurate and well-rounded stories about transgender people and casting trans characters more authentically,” Schmider said in an e-mail comment to the Blade. “Not only are trans characters starting to be written with more nuance, complexity and humanity in the worlds in which they exist, but casting has also begun to evolve in positive ways.”
By their count, there’s only one cis actor still playing a trans role on TV.
The issue is a bit more complex, casting vets say, than “casting more authentically.” Alexa L. Fogel, casting director for “Pose” and a slew of HBO shows such as “Oz,” “The Wire,” and others, says it’s “a really complicated issue” that has multiple angles.
“TV is easier in that you’re creating characters, you’re creating roles, you’re creating stars,” she says. “In the case of ‘Pose,’ none of these people were known before. A lot of them hadn’t really acted before. These roles could be crafted around these people’s strengths to some degree, not so much in the character of Elektra, with her we had to find someone who could deliver what was on the page, and that was challenging for sure, but I think the other side of it is that certainly with films, there are certainly situations in which you need to sell tickets to things. Certain things might not get made without movie stars. These are complicated questions and I don’t know that anyone knows the answers to them all yet, but it’s a conversation.”
The decision to cast trans actors on “Pose” was made prior to Fogel’s involvement with the show. She says that added a layer to the casting process, but she didn’t see it as an extra burden.
“It’s part of the joy of the job,” says Fogel, who declined to state her own sexual orientation or gender identity. “It’s about rising to the challenge. I never considered that it couldn’t be done. It was just about, you know, doing the research, getting ambassadors to the community, making sure I had enough time to meet enough people. Anytime you do something that’s less visible, it’s more time consuming.”
How deep was the talent pool?
“I wouldn’t say it was a huge talent pool, but I’ve done a lot of projects where you just have to really put your head down and do extra research and this was one of them,” she says. “It was challenging but it never felt that it was going to be impossible. It just meant we had to do extra work.”
She’s not aware if the Screen Actors Guild tracks its members’ gender identity (SAG did not respond to requests for clarification on that). Fogel says membership is easy to secure once she casts a lead role.
Could ‘Pose’ be a fluke?
Is “Pose” a one-off or a game changer?
“I don’t have a crystal ball, but I think yeah, the ground is certainly shifting in terms of the conversation,” Fogel says. “I think it’s ultimately about the writing, about the culture and what people feel like they want to see. People want real representation and that seems to be happening across the board.”
Billik agrees.
“‘Pose’ is telling a story that’s really spectacular and a lot of people are really responding to it, so I don’t think it will be a one-off,” she says. “I think we’ll see a whole slew of trans actors cast because of it.”
Aneesh Seth, a trans actress on the Netflix show “Jessica Jones,” says there’s still “a long way to go.”
“Athough trans folks have gained some control over the types of trans narratives out there, they can still tend to be reductive and focused on our trauma,” she said in an e-mail. “Where are the stories of trans folks winning? Falling in love? Having successful marriages and careers?”
Is this the end, at least, of the big stars taking home Oscars and nominations for all the major trans movie roles? And how realistic is it — theoretically — for a trans actor to have given the caliber of performance Swank gave in “Boys Don’t Cry”?
Some say it’s a chicken-or-the-egg argument. If trans actors had been given time to build up their resumes on equal footing with a Swank or a Jared Leto, who knows what they might have achieved? That’s not to say they had easy rides — Swank and her mother, for a time, lived out of a car upon moving to Los Angeles as Swank pursued her dream. But inarguably, upon starting her acting career, she got cast in varied roles far faster and more regularly than any trans actor would have fared, especially in the ‘90s.
Fogel, especially, says it’s hard to account realistically for “what ifs.”
“You can’t really know the answer to that without doing the work,” she says. “I couldn’t have answered any of these questions about ‘Pose’ before I’d done it. The process is so important when it comes to casting. You really have to do the work to find the people, it’s all about the process.”
Looking ahead
The path ahead, many agree, is bright.
“I actually think Time magazine jumped the gun a little bit when they put Laverne Cox on the cover for ‘Orange is the New Black’ and said it was ‘The Transgender Tipping Point,’” Younes says. “Not to take anything away from her, but I think the tipping point is actually now because it’s not just one, it’s multiple roles. There’s a brand new pool of talent and we’re more open to the fact that it could come from anywhere.”
Several folks interviewed for this piece mentioned bit parts they’d seen trans actors cast in of late. Billik just saw “Moulin Rouge” on Broadway and said one of four ladies in the opening number was trans. Younes knows a trans colleague in the ensemble in “Tina: the Tina Turner Musical,” which opens at the Lunt-Fontanne Theatre on Broadway next month (previews are in October). He also cites two trans actors with brief speaking parts in this summer’s “Spider Man: Far From Home.”
GLAAD reps helped cast Zoey Luna, a trans Latina actress, in “The Craft” reboot from Sony as Lourdes, one of the lead girls in the coven who happens to be trans. In 2018, not one of the 110 major studio films released included a trans character, according to GLAAD.
“So this casting and character are game changers in the film landscape,” Schmider says.
Non-binary actor Asia Kate Dillon on Showtimes “Billions,” is another positive step, many agree. And Daniela Vega made history in “Fantastic Woman,” a 2017 Chilean drama that won an Oscar. Vega was the first trans presenter in the history of the Academy Awards when she presented in 2018.
“This isn’t a trend, this isn’t just the topic du jour,” Younes says. “For decades, all we could get were playing the dead hooker on ‘Law & Order: SVU.’ … I hope it’s a continuing trend for trans people making inroads in entertainment.”
SIDEBAR: ‘Boys Don’t Cry’: problematic in retrospect?
Although it was seen as fairly groundbreaking in its day, the 1999 film “Boys Don’t Cry” hasn’t aged particularly well, some argue.
Donna Minkowitz, the writer of the original Village Voice story that inspired the movie, apologized last year in a piece she wrote (also for the Voice) called “How I broke, and botched, the Brandon Teena Story.”
“For years, I have wanted to apologize for what I now understand, with some shame, was the article’s implicit anti-trans framing,” Minkowitz wrote. “Without spelling it out, the article cast Brandon as a lesbian who hated ‘her’ body because of prior experiences of childhood sexual abuse and rape. … At the time, I was extremely ignorant about trans people. Like many other cis queer people at the time, I didn’t know that there were gay trans men, trans lesbians, bisexual trans folks, that being trans had nothing to do with whether you were straight or gay, and that trans activism was not, as some of us feared, an effort to stave off queerness and lead ‘easier,’ more conventional heterosexual lives.”
The trope of the butch lesbian who takes things “just a little too far” and comes out as trans, is a recurring one, trans actor Samy Nour Younes says. He, too, found the film adaptation “problematic.”
“There was a similar storyline on ‘The L Word,’ when Max Sweeney starts taking hormones and becomes this raging monster, a really awful storyline. Seeing some of those things and ‘Boys Don’t Cry’ were the first representations I saw of a trans masculine storyline and stopped me from coming out sooner.”
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Margaret Cho returns to music with ‘Lucky Gift’
Collection of pop tunes includes tribute to non-binary people
LOS ANGELES — It has been eight years since Margaret Cho released her Grammy-nominated “American Myth” album. She’s back to the music scene with her new album, “Lucky Gift,” an 11-track collection of anthems and pop tunes, a tribute to Robin Williams, and a shout-out to non-binary and gender non-conforming people.
The album captures the whirlwind that is Margaret and all of the different facets of her talents that have made her a powerhouse in entertainment and a leader in activism. In “Lucky Gift,” she’s getting her point across while having fun and getting glam.
We caught up with the activist and artist to chat about her music, our political climate, and the power of pop divas.
Known for her comedy, acting, and activism, she felt it was long overdue to get her music back out there too.
“I make music often. It’s a part of my daily life, it’s a big part of my social life, and it’s just something that I just love to do for my own relaxation and fun. I had enough for an album and I wanted to finally put them out. I was just really proud of how it all sounded together,” shares Cho.
“It’s a power pop record. For me, the songs are really meaningful. They’re all in their own way love songs. I’m a big fan of my own music (laughs), I really like the way that I sound and it’s really special to do. People know me as a comedian, and I have also made music for a long time, but it’s sort of a side project, and so it was time to put more out again.”
Her album also includes a touching tribute to Robin Williams. The entertainment community is finally more comfortable talking about mental health more openly. When relating mental health to her own life, Margaret, in true Margaret form, quickly turned the conversation to reflect today’s political climate.
“I have to maintain a level of peace and quiet and sometimes maybe get away from the news, although that’s tough because I am obsessed. I want to know what is happening. I’m really worried for our community, especially the trans community. I’m worried that this administration is trying to separate T and the Q from the LGBTQIA, and it’s really frightening.”
As an elder, Cho says she has to also remember that we’ve been through this before and it’s actually been much worse. As a community, we’ve been through a similar situation, and we were facing down a pandemic, which was killing us by the millions. So at least now we don’t have to fight AIDS as well as this onslaught of homophobia.
“We have fought for our rights, and we still have them, but we may not have them for long. So our mental health is very important to preserve now because we have to fight. The one thing to remember is they can’t do everything at once. They can’t take away trans rights, queer rights, gay rights, gay marriage, anti-depressants —ha — at the same time. So what we can do is just try to remain as calm as possible and fight as strongly as we can. But yeah, mental health is really vitally important right now.”
Margaret’s long history of queer activism stands for itself. She does not shy away from current issues, she uses her platforms to incite, educate, and question. For Margaret, there is no time off from being an activist. She was born into it, so to speak, being raised in San Francisco in the 1970s, her parents — the owners of a gay bookstore — and their employees followers of Harvey Milk.
“My activism is that I don’t have a choice. I’m going to be an activist no matter what. We’re doing this together, we’re going through this together. I will always be political. It’s just disheartening to see the ignorance of people and the lies that are being told that are believed.”
Margaret’s “Lucky Gift” comes at a perfect time when the queer community can come together over music. Cho looks at her album as a tool to empower an underdog community through the power of music.
“It’s the triumph of pop above all. We need to look to our pop divas above all. So now I’m more than ever, leaning on Madonna. [Thank God for Lady Gaga’s] “Abracadabra” because I think that things like that boost our community so much. When you can just get together and have a “brat summer,” that boosts our community so much in this togetherness, this explosion of excitement. I think Chappell Roan really ignited the pop capacity for healing. I love ‘Lucky Gift’ because it is my stepping into a pop diva moment. Pop divas should not be discounted for how important they are to our society and how much they lift us up.”
In addition to releasing her new album, Cho will continue to hit the road this year with her “Live and LIVID! Tour,” celebrating more than four decades of live stand-up shows. On this tour, she promises to rage about homophobia, sexism, racism, and the fight to stay alive. The five-time Grammy and Emmy-nominated performer is not holding back. According to her, the nation is not divided, just a little lost.
“We’re not divided. Everybody hates this. We all hate this. The fact is, the majority of the country does not want this. Unfortunately, a lot of people just didn’t vote because they just didn’t want to participate. That’s why we’re in the situation that we’re in. So to be on the road is a pleasure. And I rarely come against opposition. Every once in a while there’s something, but it’s something that we all handle. I think we all need a voice, a strong voice of reason to combat all of the hysteria.”
And her message to her fans?
“We’ll get through this. We’ll get through this with pop divas. ‘Abracadabra,’ learn the choreography, you do it sitting down. At least we have pop music, I have my hat in the ring here. But at least we have each other and we’re going to be OK. It’s going to be a ride, it’s going to be intense, but we can do this. We’ve been through this before and we are going to be fine.”
“Lucky Gift”is now available on all major streaming platforms.
a&e features
Meet the people giving a voice to LGBTQ truck drivers
‘Like therapy,’ finding solace in each other and the road
Before embarking on his weekly 2,000-mile trip as a truck driver, Derric Schmid sets up his smart TV and preps meals in bulk like ham and potatoes.
To some, long hours on the road away from family and friends sounds grueling. But for Schmid, it’s his way of life.
“I love the freedom,” Schmid said. “I get paid to go see the country. I’ve spent New Year’s Eve in New Orleans, I’ve spent it in St. Louis and this year I spent Christmas out in California exploring.”
Schmid is the vice president and senior diversity officer of LGBTQ+ Truck Driver Network (TDN), a nonprofit he runs with founder Bobby Coffey-Loy. TDN aims to foster inclusivity and safety in the truck driving industry by building a supportive network of allies and queer truckers.
The organization vets companies (Schmid says he calls 50-100 per week) to understand which are committed to creating safe spaces for drivers of all backgrounds. Schmid and Coffey-Loy also host the Big Gay Trucker Podcast, where they interview people who need advice or want to discuss taboo topics.
Coffey-Loy said meeting people from different walks of life, including trans people recovering from surgeries while on the road, inspired him to create TDN.
“It just opened me up to a whole group of people that just needed representation,” Coffey-Loy said. “There are groups out there on [social media] pages, but nobody actually took it as far as a nonprofit organization.”
Coffey-Loy drives with his partner of 17 years, Ricky, for a company called Luna Lines. Together they drive about 6,000 miles a week, taking turns sleeping or keeping one another company. On Monday, they typically start a load in Jacksonville and then drive to New Mexico, Chicago, Baltimore, Tennessee and end up back home in Palm Coast, Fla., by Friday. They even pay for all their gas and food while on the road.
Doing a weekly cross-country road trip in tight quarters with your partner can be trying, and Coffey-Loy will be the first to admit that: “Your partner is someone that knows how to push your buttons faster than anybody else,” he laughed.
But he also said starting truck driving together eight years ago is what made him and his husband closer. Before driving, he said it felt like life and jobs sometimes got in the way of their relationship. Going to trucking school together and being able to support each other on the road over the years has sparked a different kind of connection in their lives.
“We didn’t want to be apart from each other, so that’s what made trucking work for us,” he said.
For both Schmid and Coffey-Loy, truck driving runs in the family. Schmid, who’s been driving trucks for almost 24 years and with TDN for more than two, calls Jonestown, Pa., home –– a borough with a 2023 population of 1,645. He had three uncles and a grandfather who were truck drivers.
Coffey-Loy, born and raised in West Virginia, said his father and grandfather were truck drivers.
Continuing family tradition is respectable enough, but Coffey-Loy’s mission of creating a safe and supportive space for those in the industry was unique; it was difficult for his parents to accept his identity when he first came out.
Coffey-Loy’s parents passed away 11 months apart last year. He said they learned to grow to love him for who he was. When TDN started up, they became “mom and dad to everyone,” and even invited people with no familial structure to move in with them.
At get-togethers, his dad called everyone “sweetie” or “honey” to be respectful since he didn’t know how everyone identified.
“What they’ve taught me is, if they can change their mind and they can accept everybody, anybody can,” Coffey-Loy said. “I will cherish it forever. I miss them every day.”
And the impact of this lesson has been tried and true. TDN attended the Mid-America Trucking Show despite receiving death threats and facing extra security measures –– yet they ran through dozens of handouts before their station even opened. Another year, they handed out condoms to promote safe sex on the road and were met with backlash –– yet they went through a whole box on the first day.
The team behind TDN may be small –– about eight people –– but Schmid said their reach is wide. Thousands of people visit their social media pages from around the world and connect with each other, including a vocal German bus driver and a man from Africa trying to create more queer visibility in his area.
Coffey-Loy said many people contact him directly for support. There was a straight man who called who had trouble balancing his home life and truck driving hours and expressed suicidal thoughts. The man said he saw Coffey-Loy’s number and needed someone to talk to.
Moments like those are why Coffey-Loy emphasizes that the organization is there to support everyone, not solely the LGBTQ community. He recalled a bonfire gathering where people of different backgrounds and identities laughed and talked as friends.
“It’s why you do what you do,” Coffey-Loy said.
Although TDN has given many people a family away from home, it doesn’t make losing time with family and friends any easier. Coffey-Loy missed a family member’s funeral in West Virginia because he was in New Mexico and couldn’t abandon his load.
“He had already been buried before I could get back,” he said.
It’s a different way of life, but it’s not an impossible one. Schmid calls his mom and stepfather every morning and his mom again in the evenings. He gets on group calls with friends and TDN members. On weekends, Schmid sees some friends in person for dinners, and is able to visit with his family.
Truck driving may mean frequently saying goodbye to close people in his life, but it also opens the door to new connections around the country: “I got friends in every state,” Schmid said.
Although he’s constantly traveling, Coffey-Loy always feels at home. It’s those nights driving, with nothing but the roaring hum of the road filling the silence while his husband sleeps behind him, that fulfill him.
“Even though you miss so much of your everyday life, there’s something about trucking that is so freeing,” Coffey-Loy said. “The road can be so loud in your life, and it has a way to really sort out things. It’s like therapy for me.”
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Saldaña triumphs amid ‘Emilia Pérez’ collapse at Oscars
Karla Sofía Gascón loses top award to Mikey Madison after scandal
It’s no wonder the camera caught actress Michele Yeoh crying after watching queer singer Cynthia Erivo (nominated for best actress) and Ariana Grande (nominated for best supporting actress) perform one of the much-loved songs from “Wicked,” as they were simply magnificent.
Grande opened with Judy Garland’s “Somewhere Over the Rainbow,” and Erivo sang “Home” from “The Wiz.” That was one of the many bright spots in the 97th annual Academy Awards, which took place Sunday night at the Dolby Theatre in Hollywood.
While the duo sadly didn’t take away any awards, the magical film did — gay costume designer Paul Tazewell won the Oscar for Best Costume Design.
“This is absolutely astounding,” Tazewell enthused onstage, in his acceptance speech. “Thank you Academy for this very significant honor. I’m the first Black man to receive a costume design award for my work on ‘Wicked.’ I’m so proud of this.”
In the pressroom, Tazewell elaborated on his well deserved win.
“This is the pinnacle of my career. I’ve been designing costumes for over 35 years,” he said. “Much has been on Broadway and now into film, and the whole way through there was never a Black male designer that I saw that I could follow, that I could see as inspiration. And to realize that that’s actually me, it becomes a ‘Wizard of Oz’ moment, you know, it’s like no place like home. So to come back to the inspiration being inside of me was — is really remarkable.”
Tazewell said he achieved the award with the help of a lot of really amazing and talented costume artisans of all types and an amazing staff and assistants and crew.
“Because, you know, there’s no way for me to do it alone! And that also is my greatest joy — to be collaborating with other very talented artists, so I respect what that artistry is, and I share this with them because I value what their input is.”
The veteran costume designer knew the movie was going to be pretty spectacular, but he was “absolutely blown away,” because of their approach.
“We were working on two films at the same time. It wasn’t until I actually saw a pretty complete cut that I actually experienced the journey that we have created for audiences. And so, to experience that –I was beside myself. And it defined why I do costume design, why I am a costume designer.”
“Wicked” also won the Oscar for Best Production Design.
“Emilia Pérez,” Netflix’s mesmerizing Spanish language, trans crime musical, had a whopping 13 nominations, with first-time nominee Karla Sofia Gascón making history as the first trans woman to be nominated for best actress. This would have been the most nominated foreign film in the history of the Academy Awards.
Unfortunately, after the controversy surrounding her past tweets, the film only won two awards: for best supporting actress (Zoe Saldana) and best original song (“El Mal”).
While the U.S. is in an era of anti-trans political maneuvering, Sunday night’s broadcast included no mention of trans people.
In the pressroom, during an interview with “Emilia” composers Clément Ducol, Camille, and director Jacques Audiard, a journalist asked if anyone wanted to address what was happening.
Speaking in French via a translator, Audiard said, “Since I didn’t win Best Film or Best Director, I didn’t have the opportunity to speak, but had I had that opportunity, I would have spoken up.”
Saldaña, who starred as Rita, a lawyer who gets enmeshed with the trans cartel leader’s transition, was thrilled to win.
“I am floored by this honor. Thank you to the Academy for recognizing the quiet heroism and the power in a woman like Rita. And talking about powerful women, my fellow nominees, the love and community that you have offered me is a true gift, and I will pay it forward. Thank you so much Jacques Audiard, you are forever a beloved character in my life. Thank you for taking the interest, thank you for being so curious about these women to tell this story to my cast and my crew of ‘Emilia Pérez.’”
Saldaña’s nephew is trans; a few weeks ago, while winning the best supporting actress at the BAFTAs, she told journalists that she was dedicating the award to him.
“I’m dedicating all of these awards and the film ‘Emilia Pérez’ to my nephew, Eli. He is the reason — they are the reason — I signed up to do this film in the first place,” she said. “So as the proud aunt of a trans life, I will always stand with my community of trans people.”
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