By outdoor-nature-child.com Jacques Audiard, the veteran French director, is taking a remarkably bold leap with his latest project, the unconventional Spanish-language musical, “Emilia Pérez.” Set against the dramatic backdrop of Mexico, this film tackles themes of female empowerment, cartel violence, and the alarming rates of disappearances, all while incorporating elements of gender reassignment surgery and transitioning, packaged within an endearingly quirky musical format.
Audiard’s decision to venture into a genre-bending narrative represents a significant departure from his previous works, yet it also consolidates recurring themes of reinvention that have marked his career. His groundbreaking film, “A Self-Made Hero” (1996), introduced audiences to a con artist claiming to be a hero of the French resistance. In “A Prophet” (2009), we followed a young delinquent who rises to become an organized crime kingpin, while “Dheepan” (2015) chronicled the transformation of a former Tamil Tiger into a family man seeking asylum in France.
Throughout his films, Audiard emphasizes the complexity of identity, often suggesting that remnants of one’s past cannot be so easily discarded. For instance, in “Dheepan,” the protagonist’s past violence resurfaces as he strives to protect his newfound life. “Emilia Pérez” draws inspiration from a minor storyline in Boris Razon’s novel “Écoute” and expands it into an extravagant, if somewhat chaotic, musical narrative.
The film opens with Emilia—played by the captivating Karla Sofía Gascón—in the form of Manitas Del Monte, a feared drug cartel leader. In a hyper-masculine world defined by power and intimidation, Manitas confronts the dissonance of his identity, realizing he was born in the wrong body and life. His journey toward gender-affirming surgery signifies a poignant shift as he aims to abandon the violent cartel culture to become an advocate for its victims. Supporting him is Rita, played by Zoe Saldaña, a brilliant lawyer trapped in a mundane role, who orchestrates Manitas’s transition and helps relocate his devastated family, including his wife, Jessi, portrayed by Selena Gomez.
As the narrative unfolds, the film transitions from a gritty crime thriller to an extravagant soap opera, interspersed with melodramatic flourishes reminiscent of Almodóvar, creating a unique experience punctuated by musical sequences. Initially, the decision to incorporate musical elements feels like a gamble, particularly given the variable quality of the songs. While none of the tracks are painfully unlistenable, they might not linger in your mind after leaving the cinema.
However, the unusual musical format ultimately becomes a fitting vessel for such an eccentric story filled with tonal shifts. Scenes like Rita exiting a courtroom, greeted by a synchronized chorus of cleaning ladies singing, cleverly facilitate the suspension of disbelief needed to fully engage with this whimsical narrative.
Reflecting on “Emilia Pérez,” I find myself torn. On one hand, it serves as a vibrant, over-the-top escapade with standout performances, notably Saldaña’s energetic numbers and Gascón’s fierce presence. Gomez delivers a remarkable portrayal as the unsatisfied trophy wife who is willing to uproot her world for self-fulfillment. Yet, on the other hand, the film’s treatment of cartel violence raises concerns about trivializing a profound national tragedy, given the staggering numbers of disappearances documented in Mexico.
While countless filmmakers have tackled this pressing issue, “Emilia Pérez” distances itself from the harsh realities of cartel life through its fantastical elements and was shot on a French soundstage without Mexican actors in key roles. This creative choice may undermine the film’s authenticity, but perhaps that was never the primary aim. Though the film may not introduce new insights regarding the over 100,000 disappearances in Mexico since the 1960s, its messages on female empowerment and authenticity, while occasionally clichéd, are delivered in an engagingly fresh manner.
“Emilia Pérez” will be available in selective UK and Irish cinemas and on Netflix starting November 13.