Movie Review: ‘Emilia Perez’

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Review by James Lindorf

Writer and Director Jacques Audiard was inspired by a single chapter in Boris Razon’s novel, ‘Écoute’ for his latest film “Emila Perez.” The Frenchman is referred to as a renegade auteur, but he has twice won France’s most prestigious film award, the César, and the British Academy Film Award for best foreign language film. After a strong showing at the Cannes Film Festival in May, he has a strong shot at more trophies, including his first Oscar. “Emilia Preez” is now playing in theaters nationwide before moving to its streaming home, Netflix, on November 14th.

Defense attorney Rita Mora Castro (Zoe Saldaña) is the definition of frumpiness that comes with being unappreciated, overworked, and underpaid. Rita is thoroughly disillusioned with her job of getting rich men off the hook for murder when she is kidnapped by cartel boss Manitas (Karla Sofía Gascón) and presented with an offer that will change her life or end it. Her task is to handle all the research and logistics related to Manitas faking their death and receiving gender-confirming surgery. Part of the logistical problem involves transporting Manitas’ wife Jessi (Selena Gomez) and their two kids to a new home in Switzerland. The complicated task is completed relatively easily, with only some threats getting in the way during the first act. The story then moves four years into the future, with the women reuniting in London after the glow-ups that only come with money. Reuniting with Emilia will bring family, love, fear, and incredible violence into Rita’s now lavish but boring life.

“Emilia Perez” is a film of excess. The characters have money and violent tendencies in abundance, but their story also incorporates gender identity, cartels and their victims, ambition, corruption, family, and self-preservation. It is the most richly layered film of the year, and some of it is handled bluntly with the message mallet, but others are beautifully and deftly presented. Adding to the feeling of a bounty of ideas is that the film is not just a drama or a crime film but also a musical of no defined style.

“Emilia Perez” is at times operatic, with the talk-singing of plot details and themes, such as when Rita debates (in song) with a plastic surgeon about whether changing the body affects the soul. He says no, while Rita argues that “changing the soul changes society, changing society changes everything.” This scene is a bit hamfisted, but the delivery adds a unique layer to the storytelling, making it hard to be put off by the song of hope for Manitas and everyone around them. The movie is also balladic, features a little hip hop flair, with hard rock moments, and the sweetest song of longing and remembrance from a child. These musical elements, each with its own unique style, keep the audience engaged and on edge about where the story is going next.

Because there is so much going on and so many things the characters need to accomplish, the significant lifestyle changes can feel jarring and only carry merit after they are allowed to develop. While the story and resulting themes may bounce from place to place, the consistent element is the performances of Saldaña and Gascón, who prove in every scene that they warranted being part of the team group of four that won Best Actress at Cannes. Gascón has the more significant traditional acting moments as she transitions from one character to another. She is tormented by her conflicting violent instincts and her hope for love and drive to reunite families torn apart by the cartels.
Saldaña’s Rita does not have anywhere near the character arc, but she dominates the musical portion of the film. There is a striking scene at a fundraising gala with her in a red velvet suit singing about corruption and dancing among the crowd that you can’t take your eyes off of. There are some sexual aspects to the choreography that I don’t think belong. Still, it is a minor blemish during a nearly perfect moment.

The other half of the award-winning foursome, Gomez and Adriana Paz, who plays Emilia’s love interest Epifanía, may have been there because the jurors were moved by the depiction of female empowerment, which, while at times overshadowed by other themes is a significant element, more than their merit. Gomez starts as the group’s weakest member, causing me to wonder how Mabel, her “Only Murders in the Building” character, got herself into this situation. However, once she is allowed to perform musically, she and Jessie come into their own and shine. Paz is excellent, especially when first meeting Emilia. It is the most tense and effective moment in the film, but her presence is so limited that she would be more fitting of a supporting role nomination than the lead.

While “Emilia Perez” offers abundant entertainment value, unfortunately, I couldn’t help but wish for a more emotionally engaging story and a more dependable plot line. The film’s plot inconsistencies warrant a cautious approach for many, but “Emilia Perez” still manages a 4 out of 5 from me.

Rating: R (Some Violent Content|Sexual Material|Language)
Genre: Musical, Crime, Drama
Director: Jacques Audiard
Producer: Jacques Audiard, Valérie Schermann, Pascal Caucheteux, Anthony Vaccarello
Screenwriter: Jacques Audiard, Thomas Bidegain
Distributor: Netflix
Production Co: Pimienta Films, LPI Media, Why Not Productions, Page 114, Saint Laurent Productions, France 2 Cinéma, Pathé Films
Release Date (Theatrical): November 1st, 2024
Release Date (Streaming): November 13th, 2024
Runtime: 2h 12m