CANNES – You have to give Jacques Audiard credit. The famed French filmmaker has proven time and time again he isn’t afraid to take big swings. And with “Emilia Perez,” he’s attempting to hit one all the way across the Atlantic. Debuting at the 2024 Cannes Film Festival in competition, “Perez” is a Mexican-set musical melodrama with a narrative that seemingly knows no bounds. And yet, even at its most unwieldy, Audiard’s cinematic skill and Zoe Saldana‘s at times dazzling performance make it hard to ignore.
Inspired by a chapter in Boris Razon‘s 2018 novel “Ecoute,” the movie begins with Rita (Saldana), a Mexico City lawyer dispirited by her firm’s clientele of affluent criminals. After one successful verdict, Rita gets a phone call from a stranger offering her a chance to change her life. Before she knows it, she’s been hooded and thrown in a van to visit one of the country’s most dangerous cartel leaders, Manitas (Karla Sofía Gascón, initially under an incredible makeup job). When they meet, Manitas has an offer Rita simply can’t believe. A promise of life-changing wealth if they agree to take on a mission. But, once they commit they are in. There’s no going back. Perhaps with only her life to lose, Rita jumps into the rabbit hole. She soon discovers Manitas wants her to facilitate a sex change that will remove them from their current life. An escape from the cartel world that would allow her to be the woman she’s always dreamed of. It goes without saying that was not what Rita was expecting.
Traveling across the globe on Manitas’ dime, Rita finds a doctor in Tel Aviv who eventually commits to the secrecy behind her client’s needs, but he also gives her a prescient warning. The body may change, but the soul may not. Oh, and trust, Audiard makes it clear this prognostication is important for later on down the road.
Rita also finds herself in charge of shepherding Manitas’ oblivious wife, Jessi (Selena Gomez), and their two sons out of the country. The trio will be starting a new life far from the threat of Manitas’ enemies. After her husband’s death is faked (she’s unaware of Manitas’ trans identity), Jessi is horrified to discover she and the kids have been dropped off in affluent, but snowy Switzerland.
Jump forward four years and Rita’s life has dramatically changed. She has taken a career jump as a high-profile lawyer in London. At a swanky dinner, she’s introduced to Emilia Perez, a visitor from Mexico who happens to be a client of that night’s host. Within minutes she deduces that Emilia is an almost completely transformed Manitas. And, with that revelation comes a realization. She cannot escape. Whether as Manitas or Emilia, Rita is tethered to her for life, and with this comes another request from her former employer: bring my wife and children back to Mexico.
As the film continues (boy, there’s a lot more to go), the perspective changes somewhat to Emilia, who believes she’s turned a new leaf in creating an NGO in Mexico to help people find the whereabouts of their kidnapped friends and family. There might even be new romances for Emilia and Jessi. But that doctor’s warning lies in waiting. And it’s probably not a red herring.
Oh, and, yes. All this and it’s a musical. Well, “Emilia” wants to be a musical. Originally intended as a four-act opera, the movie has numerous musical moments. Some longer than others, some seemingly just two minutes or less teasing the promise of something more. And, in all fairness, like a proper musical, the songs do move the story forward.
The composition titles were not provided by the time of this review’s publication but were written by Clément Ducol and French music artist Camille. While none of them have a truly catchy hook, they do provide moments for Saldana to demonstrate a performance prowess only hinted at earlier in her career. The “Avatar” star has sung on screen before but she’s never had an opportunity to do a number. Never had the chance to flex her vocal skills in this capacity. Not like this. We’re not sure this movie can usher in a new era of Saldana taking the stage or screen again as a musical star, but we’re absolutely here for it if it does.
“Emilia” is also a showcase for Gomez, who arguably delivers the best dramatic performance of her career as a woman who has had her life taken from her. Thankfully, the global pop star has a fun song or two, but it’s those moments opposite Saldana and Gascón where she makes you take notice. Perhaps it’s the freedom of performing almost entirely in Spanish or perhaps it’s just Audiard’s talent with actors. Whatever the case, she leaves a mark.
Of course, at the center of “Emila” is Gascón and the out-trans actress almost finds a way to elicit sympathy for a character that often doesn’t deserve it. One of the toughest selling points of the entire endeavor is whether you can root for Emilia in her new life. Can you forgive her for the deaths she was responsible for in her former identity? Even in the context of a pseudo-musical, the movie is grounded enough that pulling that off would be a remarkable achievement for any actor. And, given the circumstances, it’s impressive that Gascón almost takes you there.
When “Emilia” shines it’s often because of the collaboration between Audiard and cinematographer Paul Guilhaume. The pair fashion several truly exhilarating moments during some but decidedly not all of the musical sequences. It hints at what the movie could have been if Audiard had incorporated the musical elements even more into the narrative. But the movie will deservedly find a legion of fans for those cinematic sparks alone.
It should also be noted that it’s slightly perplexing that Emilia is never referred to as trans in the film (it’s seemingly obvious) or that any of the issues surrounding the trans community are even hinted at. Granted, no movie can be all things to all people, but considering how serious it takes the contemporary issue of missing people in Mexico, it’s somewhat odd. Even in the context of a movie that comes so close to embracing the creative promise of a cinematic telenovela. [B-/C+]