Emilia Pérez has captured major buzz as a contender for Best Picture at the Oscars, earning both praise and debate. Directed by the renowned French filmmaker Jacques Audiard, it’s a vibrant, Spanish-language musical that’s hard to ignore. Starring Zoe Saldaña as Rita Mora Castro, the film delivers a bold commentary wrapped in a fantasy sequence that pulls no punches. In one memorable scene, Saldaña's character, dressed in a suit and spotlighted at a ritzy charity event, shatters the polite decorum of the evening by climbing across tables and tugging at the neckties of the wealthy attendees. This sequence unveils her frustration with the hypocrisy of the elite, who simultaneously honor the memory of Mexico’s disappeared victims and accept bribes or give favors to those perpetuating the violence. “All these people talk,” she hisses through gritted teeth, “Now they’re going to pay.”
Audiard's films are known for their emotional impact and unfiltered sentimentality, drawing audiences into gritty, personal narratives. His storytelling often pushes boundaries, like the intense prison scenes in A Prophet (2009) or Marion Cotillard’s raw, post-amputation journey in Rust and Bone (2012). However, in Emilia Pérez, the film's ambition sometimes feels a bit featherweight compared to Audiard’s previous, heavier-hitting projects. While the film’s style is unmistakably Audiard, some critics have noted that the themes here feel a touch diluted.
One of the film’s most intriguing aspects is its lead character, Emilia, played by Spanish telenovela star Karla Sofía Gascón. Emilia, a trans woman, summons lawyer Rita (played by Saldaña) for help in arranging gender-affirming surgeries and plans an escape for herself and her wife Jessi, played by Selena Gomez, along with their children. In an emotional twist, Jessi and the children are unaware of Emilia’s transition, and the plan involves telling Jessi that her husband has passed away. Fast forward four years, and Emilia resurfaces, wanting not only to reconnect with her family but to build an NGO that would assist in investigating cases of missing persons—cases she may have had a role in causing herself. Emilia's yearning for redemption adds depth to her character, and Gascón’s performance, celebrated at Cannes, marks a significant moment, as she became the first openly trans actor to win a major prize at the festival.
The trans experience in Emilia Pérez is complex but somewhat narrowly handled. Audiard doesn’t dwell on the material reality of Emilia’s journey, instead separating her pre-transition and post-transition selves into seemingly disconnected personas. Emilia’s transformation is treated more as a metaphor for rebirth and fresh starts, perhaps missing an opportunity to add more nuance and authenticity to the character. This approach might come across as overly symbolic, with Audiard using Emilia’s identity as a way to explore broader themes rather than grounding her story in tangible, lived experiences.
The character of Rita Mora Castro (Saldaña) adds yet another layer of moral conflict, as she has spent her career defending men accused of violence against women. Both Emilia and Rita are characters on individual journeys for absolution, yet the film’s conclusions on this theme remain murky and buried in melodrama. Despite the richness of their backgrounds, there’s a sense that Emilia Pérez shies away from deeply exploring the moral complexity of its characters. Both Saldaña and Gascón tackle their roles with fervor, bringing energy to their interactions, but the movie doesn’t fully unpack the ethical contradictions that surround their lives.
Selena Gomez’s role as Jessi introduces a familiar face, yet it also leaves some fans wishing for more. Known for her deadpan humor in Only Murders in the Building, Gomez’s charisma feels slightly muted here, with the script not allowing her to fully flex her usual charm. While she does deliver a solid performance, there’s a sense that her casting could have capitalized more on her strengths as an actor.
Audiard’s vision of Emilia Pérez is enhanced by the pulsating, uninhibited choreography from Damien Jalet, who previously contributed to the haunting dance sequences in Luca Guadagnino’s Suspiria. Here, Jalet’s choreography brings an eerie vibrancy to the musical numbers, adding a surreal quality to the film's atmosphere. However, the music itself, composed by Camille Dalmais and Clément Ducol, feels somewhat disjointed. While their speak-singing style recalls the playful, experimental vibe of the Sparks-penned soundtrack for Annette (2021), it doesn’t quite achieve the same cohesiveness, making the songs feel disconnected from the story’s emotional core. Music becomes just music; words become just words—leaving a feeling of missed potential where the soundtrack could have been more harmoniously integrated into the story.
One of the most exciting elements of Emilia Pérez is its exploration of wealth, power, and moral decay. Rita and Emilia, though ostensibly on the path to redemption, continue to operate within circles of opulence funded by questionable means. This is especially evident in the charity dinner scene, where Audiard’s sharp critique of elitist double standards shines through. The characters exist in a world built by the same immorality they claim to disdain, offering a sharp critique of privilege and corruption.
Adding to the film’s allure is the supporting cast, including Adriana Paz as Epifanía, the wife of one of Emilia's past victims. The interactions between Emilia and Epifanía are loaded with emotional tension, as Emilia seeks forgiveness and reconciliation. Paz’s performance is another highlight, capturing a complex mix of sorrow and resilience.
Emilia Pérez invites viewers into a world of rich storytelling, where fantasy blurs with dark social commentary. While the film’s execution may not be as refined as Audiard’s previous works, it delivers a unique blend of drama, introspection, and flamboyant musical flair. With its complex themes of identity, guilt, and redemption, the movie is a stirring addition to Audiard’s filmography and a significant Oscar contender for its bold, unorthodox narrative.
And for those curious about where to catch Emilia Pérez, the film is currently streaming on Netflix, bringing this internationally acclaimed production directly to audiences worldwide. Whether it clinches the Oscar or not, Emilia Pérez will undoubtedly spark conversations about representation, privilege, and the moral landscapes we navigate.
As the film resonates with themes of change and forgiveness, Emilia Pérez showcases the power of cinema to challenge our perceptions and inspire dialogue. So, if you’re looking for something outside the mainstream—a film that dares to take risks and break the rules—Emilia Pérez might just be your next must-watch.
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