Should France Submit ‘The Count of Monte Cristo’ or ‘Emilia Perez’ to the Oscars?
After missing out on sending “Anatomy of a Fall” as its official entry, the stakes are high for France’s revamped Oscar committee to avoid missing out on another opportunity to give the country its first Oscar win for best international feature in over three decades. But don’t expect the French to make the obvious choice.
On paper, Jacques Audiard’s exhilarating redemption thriller “Emilia Perez,” which won two major awards at the Cannes Film Festival along and earned rave reviews, is a shoo-in. Audiard is a revered French auteur who won a Palme d’Or with “Dheepan,” was previously nominated for a foreign-language Oscar with “A Prophet” and is well known internationally. “Emilia Perez,” which stars Karla Sofía Gascón as a fearsome drug lord who embraces his true self as a woman, struck a chord at Cannes where it earned one of this year’s longest standing ovations. The Spanish-language film went on to win the Jury Prize (in a jury presided over by Greta Gerwig), on top of a Best Actress Prize for the ensemble cast, including Gascón, Zoe Salda?a, Selena Gomez and Adriana Paz.
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But another candidate, “The Count of Monte Cristo,” a sweeping three-hour epic adventure film adapted from Alexandre Dumas’ classic, is also being discussed as a potentially strong entry to represent France in the international feature race. The directors, Matthieu Delaporte and Alexandre de la Patellière, don’t have the prestige pedigree of Audiard, but they are well regarded in France, having penned the two-part saga “The Three Musketeers.”
Why would “The Count of Monte Cristo” stand a chance to rival with and even beat “Emilia Perez”? There are some of the same reasons that compelled last year’s committee to vote for “The Taste of Things” over “Anatomy of a Fall.” First off, it’s literally more “French” than “Emilia Perez,” meaning that it not only shot in French with local actors, it also filmed in lush French landmarks and is based on a crown jewel of French literature.
Some of the 11 members who are part of the committee will inevitably feel that “The Count of Monte Cristo” could appeal to older, nostalgic Oscar voters.
Like “The Taste of Things,” “The Count of Monte Cristo” has also garnered solid reviews in U.S. trades, with Variety’s Peter Debruge even calling it a “genuine triumph” and “a stunning, emotionally satisfying adventure tale.” The film, which played out of competition at Cannes, also triggered an even longer standing ovation than “Emilia Perez.”
Besides the critical acclaim, “The Count of Monte Cristo” is also boosted by a smashing theatrical success that “Emilia Perez” doesn’t yet have. The latter was just released in France on Aug. 21 and had a solid kick off with 45,353 tickets sold (including 8,780 admissions from early premieres). But “The Count of Monte Cristo” has already established itself as a proper French blockbuster. It opened on June 26 and has already grossed almost $60 million from more than 7 million tickets locally.
France’s Oscar committee was significantly expanded by the National Film Board from seven to 11 members and five alternates earlier this year after the backlash over the “Anatomy of a Fall” snub. The idea with this enlarged pool of voters is to ensure that decisions won’t be guided by personal or professional interests. As such, the names of committee members have not even been publicly announced and won’t be until the eve of the first round of debates around Sept. 10.
But outside pressures aren’t the only factors influencing decisions. The French committee’s preconceived notions of what American voters will go for has often guided decisions, even if those concerns don’t always reflect reality.
In the case of “Emilia Perez,” some French members will assume that it’s not a safe choice. They may fear an Oscar campaign could be plagued with controversies, like Audiard telling a story he hasn’t experienced first-hand since he’s not trans and grew up in France, far from a Mexican cartel. But so far, the only backlash Audiard has faced over “Emilia Perez” has come from transphobic French politicians, such as Marion Marechal-Le Pen whose insulting comments on social media prompted Gascón to file a lawsuit in Paris.
Another similarity between “Anatomy of a Fall” and “Emilia Perez” that could — ironically — play against its selection by the French committee is the fact that Netflix will position Audiard’s movie in major categories, like Neon did with “Anatomy of a Fall.” French voters will think that since “Emilia Perez” will compete for major awards, including actress, original screenplay, director and picture, the committee should give “Monte Cristo” a change to stand out in the international feature film race.
Netflix, which bought “Emilia Perez” for the U.S. and U.K. at Cannes and is reportedly ready to spend big bucks on the campaign, will have to convince members of the French committee, who will also listen to the arguments of Samuel Goldwyn Films for “The Count of Monte Cristo.”
This year’s twist is that Pathé is involved in both “Emilia Perez” and “The Count of Monte Cristo.” The venerable French studio might face a loyalty conflict as it picks a side, although it’s much more involved in “Monte Cristo” which it financed, co-produced (with Dimitri Rassam’s Chapter 2), sold internationally and distributed in France. The debates will be held in two rounds at the National Film Board on Sept. 11 and 18.
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