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Netflix’s hopes to claim the Academy Award for Best Picture have disappeared after a series of embarrassing social media posts.

The styling music crime drama “Emilia Perez” looked like the strongest shot of the streaming service after winning the Jury Award at the Cannes Film Festival and receiving a total of 13 Academy Award nominations.

But the possibilities for the film slowed down after a journalist and translated a series of Spanish-language positions, dating from 2016 to 2020. Among them, the film’s Spanish star, Carla Sophia Gakson described Islam as a “hotband of transition to humanity” and George Floid as “Drug Edict Swander”. Social media extended the story in a global proportion.

Gaskon apologized, but was damaged. Terry Press, an executive of experienced marketing, said, “It is originally the year to burn himself in the fire and take his film down with him.”

Gaccon disappeared from the Hollywood Awards Circuit, although she said that she will attend the Oscar ceremony on Sunday.

Netflix did not immediately respond to a request for comments.

Every film enrolled for the best photo this year has been included in some controversies, Michael Shulman said, “Oscar Wars: A History of Hollywood in Gold, Sweat and Tiers”.

Director Brady Corbett defended the use of Artificial Intelligence in “The Brutilist” for delivery of Hungarian Dialogue Perfect actor Adrian Body and Felicity Jones in the film.

Fernanda Torres of Brazil, who is nominated for the best actress for depicting a woman who discovered her missing husband in “I am Still Heh”, apologized for appearing in a decades -old television skit.

Shulman said, “I have written a piece for New Yorker, compared to ‘Conclave’, because the whole thing reminds me of the film, where every candidate for the Pope has some skeletons in his cell.”

The controversy has often dogs the runner in front of the Oscar.

“Green Book” director Peter Fareilly apologized for being a “stupid” after the cut, that he had revealed herself to actress Cameron Diaz, which he called an attempt in humor. Despite the revelation, the film went to win the best pictures in 2019.

Sometimes, campaigns are stocked by a rival – when Harvey Venstein, with his acclaimed entertainment of the Normandy invasion by climbing a whispering campaign against Steven Spielberg’s Second World War II, “Saving Private Ryan”.

“Venstein was telling journalists that you don’t think the only good part of the film is the first 25 minutes, de-de-sequences, and then the rest is just the standard world war II picture?” “This was his version of that Carl Row Creed in politics, as if not attack the weakness of his enemy. Attack the strength of his enemy.” He managed to take the scene of this amazing battle and turn it into a responsibility.

Wensteten, whose miracle film “Shakespeare in Love” won the best picture that year, refused to criticize the Spielberg film.

“I will never stay up to that level.”

In politics, individual on-screen performance can be difficult to separate from performance.

The 2016 film “The Birth of a Nation”, a story about a slave rebellion that was written and directed by Nat Parker, was seen by Parker, the revelation, and was later acquitted to rape a fellow student in the pen state.

The story of a diversity that year told how Parker’s prosecutor committed suicide in 2012, overtaking a box office and awards at a box office.

“It ended in a second,” said an executive in the film, which was seen as a best picture contender.