“Changing the body changes society. Changing society changes the soul. Changing the soul changes society. Changing society changes it all.”
Directed by Jacques Audiard, “Emilia Pérez” is an ambitious Spanish-language French musical crime film that tells the story of a Mexican cartel leader who transitions to become a woman and fakes her death to live authentically as herself. The film, which attempts in ways that are sometimes hard to follow to blend musical elements with a crime drama, premiered at the 77th Cannes Film Festival on May 18 and was released in theaters on Aug. 21.
The plot revolves around the cartel leader, Juan “Manitas” Del Monte becoming Emilia Pérez (Karla Sofía Gascón) and attempting to reconnect with her estranged family, including her wife, Jessi del Monte (Selena Gomez), and two sons while posing as her own fictional cousin. Supporting Emilia is Rita Mora Castro (Zoe Saldaña), a lawyer known for defending serious crime cases, who becomes a crucial ally. Rita offers both legal and emotional support as Emilia navigates the complexities of her new identity.
Two of the film’s original songs, “El Mal” and “Mi Camino,” have been nominated for Best Song. Some find the songs’ execution lackluster and somewhat forgettable, while others may find them to have a charm to them that can endear listeners over time. They possess a quirky appeal, where their imperfections become part of their allure.
Audiard could have cast those with a broader vocal range for a musical, as the film uses AI cloning to help the actors reach high notes. For instance, when Gascón sings “El Mal,” her singing comes across as dull and raspy as if her voice might break. Nevertheless, like many technological advancements, AI usage is bound to be increasingly common in the movie industry, regardless of the ethical conversation behind it.
Furthermore, the music in the film might not align with Mexico’s traditional musical styles, which could lead some viewers to question its cultural authenticity. Likely Audiard wanted to focus more on artistic expression, which does not prioritize traditional cultural elements.
Additionally, none of the lead actors were born in Mexico, which has caused some controversy regarding how it affects the authenticity of the performances. However, an actor’s birthplace does not necessarily determine their ability to portray a character authentically. What matters is the depth and emotion they bring to their roles, which the actors accomplished, showing that authenticity can be expressed in diverse ways.
The choreography adds some visually impressive moments, but they feel disconnected from the film’s main story. Saldaña’s dance background allows her to reveal Rita’s emotions through her movements with great precision. Aside from Saldaña’s performances, the dancing feels unnatural, seemingly coming out of nowhere, which disrupts the film’s main story for the more serious scenes.
The cinematography was executed well, featuring some nicely crafted moments, with scenes of bold lights across the characters’ faces. Nevertheless, choosing to film in Paris instead of Mexico, where the movie is largely set, may seem inauthentic to some viewers. While the choice of filming location may not accurately depict Mexico, it could be part of Audiard’s artistic vision rather than a literal representation.
Unfortunately, “Emilia Pérez” relies heavily on dramatic tropes and does not provide a nuanced depiction of the complexities that come with gender transition. This approach causes the transgender representation to feel more like a plot device rather than a genuine exploration of identity. While the film could have benefited from greater sensitivity, it made some attempts to delve into the intricacies of gender identity, which is commendable. Certain elements of the gender conversation were interesting and emotionally compelling, offering a glimpse into the internal conflicts faced during gender transition. These moments were both captivating and thought-provoking, showing some of the emotional depth involved in such a personal journey.
However, the film includes extreme plot points that may detract from its message, especially how Emilia had to fake her own death to transition. This choice could be seen as an exaggeration that risks overshadowing the genuine aspects of the story. Despite these issues, the film deserves recognition for bringing attention to an important topic
With a good potential storyline but poor execution, “Emilia Pérez” does not merit all 13 Oscar nominations it received this year. However, Saldaña’s expressive dancing, coupled with her emotionally charged performance, makes her a strong contender for Best Supporting Actress. While the film strives to tell an empowering story of exploring one’s identity, it ultimately falls short, perpetuating negative stereotypes, such as its focus on a Mexican cartel narrative, and mediocre musical performances.
“Emilia Pérez”
2 hours, 12 minutes
Rated R for language, some violent content and sexual material
Directed by Jacques Audiard
Starring Karla Sofía Gascón, Zoe Saldaña and Selena Gomez
