‘Emilia Pérez’ Review: Zoe Saldaña, Selena Gomez and Karla Sofía Gascón are Sensational in Delightfully Unhinged Jacques Audiard Musical | Cannes
It is hard to put Jacques Audiard in one mold. The French director keeps tackling different genres without ever giving you a hint of what he has in mind next, and that is enough reason to never take him for granted. Nine years after finally winning the top prize of the Festival de Cannes with Dheepan, and three years after his last competition entry Les Olympiades, Audiard is back with something new, unlike anything we have ever seen.
Emilia Perez seems, on the surface, a collection of elements: a musical set in Mexico, featuring Zoe Saldaña and Selena Gomez, revolving around a storyline of a cartel leader undergoing a sex change. Such a premise appears rife with potential traps. Yet, in the hands of Audiard, these disparate components fuse into an exhilarating opus. His ability to merge these elements demonstrates his refusal to be confined to a single genre or style. The film opens with a scene that teases a narrative of startling ambition. Against a backdrop of a consumption chant, Rita (Saldaña), a junior lawyer, emerges as a character initially driven by principles in a world fixated on material gain. However, her yearning for upward mobility propels her toward the pursuit of a better life and aligns her with Juan ‘Manitas’ Del Monte (Karla Sofía Gascón), the leader of a powerful drug empire. This chilling match feels, fueled not only by personal ambition but also by the irresistible offer to change her life and fulfill the dreams of her newfound partner. Manitas, on the other hand, is a seemingly contradictory figure — a family man with a careless edge, who seeks to change his life upside down by disappearing from the world of criminals to fulfill a long-lost dream of becoming a woman, becoming Emilia.
From the start, we are immediately drawn into the complex web of motivations and desires that drive each character. We understand the allure of the path they’ve chosen despite its moral ambiguity and that is a testament to Audiard’s storytelling prowess that we find ourselves empathizing with the characters’ dilemmas, even as we grapple with the ethical implications of their actions in the light of the seductive power of ambition. The film is illustrated by flashy musical sequences, brought to life by formidable actresses and heartfelt songs and jingles that delve into the internal struggles and emotional states rather than merely advancing the plot. One of the many standout numbers is “You Smell Like Papa,” a lullaby-like song, between Emilia and her son to whom she is reconnected after the transition under a new identity. The number exudes a soothing, charming, and childlike dialogue. This song is both moving and entertaining but may prove to be controversial because of its unique elements, such as attributing certain scents to the child’s memory of his father, which may provoke audiences into thinking of possible racist undertones. Nevertheless, under Audiard’s direction and Karla Sofía Gascón’s evocative performance, the song is delivered and should be received like a warm breeze.
The musical numbers in Emilia Pérez are nothing short of fabulous, adding an imaginative and energetic layer to the film. Audiard showcases his most dynamic self with bold visual choices, dazzling lights, and upbeat choreographies that bring each scene to life. Reminiscent of the sung dialogues from Les Parapluies de Cherbourg, the musical elements blend ordinary lines with catchy melodies. Some other musical choices evoke Lars von Trier’s Dancer in the Dark, by turning mundane moments into spectacular musical interludes.
The choreography of Damien Jalet understands the actors’ body language and matches it with the work shown on screen without necessarily falling into imitating the dialogues. For too long, Audiard and his music team (Camille and her real-life partner Clément Ducol) were unsure which medium was the best fit for this adaptation of Écoute by Boris Razon. Before settling for a motion picture, an opera seemed for too long to be the perfect way to translate the book. And how lucky we are that it turned out that way.
Zoe Saldaña, often seen elevating less-than-stellar films with her absolute talent, finally finds a project that matches her formidable screen presence. Saldaña’s nuanced performance shines and solidifies her status as a compelling actress.
Selena Gomez delivers a standout performance and her first number, “El Camino,” serves as a self-questioning moment for which she channels her pop star persona into bringing a dynamic and vibrant movie star energy. As Jessi, Manitas’s wife and a mother who has moved beyond her grief, she is ready to embrace new beginnings with Gustavo (Edgar Ramirez), her new beau and romantic interest, with whom she shares a winning musical number.
But the true heart of Emilia Pérez lies in the astonishing performance of Karla Sofía Gascón as Perez herself. Her portrayal is marked by a range of emotional states, showcasing her high-caliber acting skills. Gascón is both effective and loud, yet she never loses a beat of genuine emotion. Through her eyes, we witness a profound transformation; her character evolves significantly, but moments of solitude and fury reveal the lingering impact of her past perturbations. Gascón’s performance is a masterclass in capturing the human experience, making her an unforgettable presence in the film. Her portrayal resonates long after the credits roll, leaving a lasting impression of the complexity and depth she brings to the character. It is a testament to Audiard’s direction and Gascón’s talent that Emilia Pérez transcends its unconventional premise to deliver a poignant exploration of ambition, morality, and the consequences of our choices, and above all, a passionate hymn to music in cinema.
Grade : A
This review is from the 2024 Cannes Film Festival where Emilia Pérez premiered in Competition. There is no U.S. distribution at this time.
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