Rita, an underrated lawyer working for a large law firm more interested in getting criminals out of jail than bringing them to justice, is hired by the leader of a criminal organization.
No matter if you love it or hate it (and trust me, you’re definitely going to be talking about it), there’s no denying that director Jacques Audiard‘s “Emilia Pérez” is one of the most audacious and unique films of the year. Blending a variety of genres and narrative styles into an experience that is as challenging as it is rewarding, this musical combines pop opera and narco thriller with a gender-affirmation drama, creating a movie that is unlike anything else in recent memory. While the film might not reach visionary heights, it is certainly inventive and bold with its risky storytelling and thematic exploration.
The film tells the story of Rita Moro Castro (Zoe Saldaña), a highly skilled Mexico City defense attorney who’s made a name for herself defending the rich and notorious. Her life takes a dramatic turn when she’s hired by the enigmatic crime kingpin Manitas Del Monte (Karla Sofía Gascón), who is secretly transitioning and seeking to undergo gender-affirming procedures in secret. Rita helps Manitas stage a murder to fake his death and enable him to take on a new identity: Emilia Pérez. This new persona allows Emilia to create a new life, but the shadows of her past inevitably start to creep in and dangerously threaten everything she’s built.
The film starts off a bit rough, but patient viewers should know that it’s worth sticking around for a story that’s willing to experiment. The musical numbers are well executed, with modern choreography that complements both the narrative and the diverse musical influences. The song lyrics are unexpectedly poignant and serve to drive the plot forward, providing an authentic voice to characters struggling with identity, corruption, and self-doubt. The original music delivers everything from operatic melodies to rap, capturing the cultural tension at the heart of the story. It’s a musical with depth and inventiveness, even if the singing talent varies wildly across the cast.
Saldaña gives a gutsy performance here, taking on an emotionally intense role that is equal parts challenging and transformative. It’s a far cry from her usual work but she pulls it off, navigating the complexities of her character with nuance and vulnerability. It likely took a lot of courage for Saldaña to accept the part and this time, it pays off.
The film’s tone feels somewhat uneven (especially during its rocky introduction) but gradually, the narrative finds its rhythm and turns into an interesting and thought-provoking exploration of gender, crime, and redemption. The music and choreography become a crucial part of the storytelling by functioning as emotional outlets for characters grappling with their identities in a corrupt, fear-ridden society. The film’s blend of spectacle and substance is one of its strongest qualities, even as it occasionally veers into melodrama and operatic tragedy (particularly toward the end).
I have to talk about the film’s finale, because it’s the ending that left me feeling completely let down. After investing so much time and emotion into the characters and the story’s twists and turns, the conclusion feels exceptionally disappointing. “Emilia Pérez” doesn’t quite deliver the catharsis you’d expect after such an emotional ride, leaving a bittersweet taste that detracts from what is otherwise a powerful exploration of identity and survival. Regardless, there’s still a lot to appreciate about this inventive and bold movie.
