Emilia Pérez

Emilia Pérez is a movie constructed from disparate parts. Its director is Parisian native Jacques Audiard, yet the movie is almost entirely in Spanish. The story is set in Mexico, yet none of the top-billed cast are from the country (although Karla Sofía Gascón has lived there for fifteen years, and Selena Gomez's paternal grandparents are from Monterrey). It's a musical adapted from an unpublished opera written by the director, featuring songs stylistically in concert with Chicago in some parts and Hamilton in many more. The duality that results makes for a strangely shaped object, albeit one that remains compelling in large part due to the commitment of all involved.

Rita (Zoe Saldaña) is a Mexican lawyer conflicted over the morality of the judicial system and her role within it. So it's fitting that she's selected by an anonymous client to do secretive work in exchange for big bucks. The client turns out to be Juan “Manitas” Del Monte (Gascón), the feared head of a major drug cartel, who insists on Rita accepting the task before revealing to her what it is: gender affirming surgery, ideally done in complete secrecy. Mantias desires a clean break from the cartels and every aspect of life pre-transition, seeing this a rebirth as their authentic self. As such, Rita arranges for Manitas to fake his death, and for his wife and children to be set up in Switzerland with access to his vast fortune, so at least they'll be materially comfortable. And thus, we meet the titular Emilia.

The bulk of the story takes place a few years after the birth of Emilia, after she's begun to miss her children, feeling life isn't worth living if she can't be near them. So she contacts Rita to bring her family back to Mexico to live with their long-lost and rich aunt Emilia, launching the story into Mrs. Doubtfire territory.

One could wonder why Emilia doesn't just talk to her wife Jessi (Gomez). After all, love is love, is it not? Especially when children are involved? While never directly addressed, you get the sense that it's for the same reason she felt the need to fake her death: the world of cartels is one of machismo, where "men are men, and women are women, and that's that". Additionally, we never really get a sense of how close they were before her transition, and thus maybe Emilia was right to fear Jessi wouldn't understand or accept her. Which certainly seems plausible when we learn that Jessi's main reason for agreeing to return to Mexico is to be reunited with her lover Gustavo (Édgar Ramírez), calling into question her previous fidelity to her spouse.

From there, the plot takes off in a variety of directions befitting a soap opera, but much less fun. You'd expect such a big dramatic swing would lend itself to some over the top situations, maybe involving the cartel or Jessi and the kids beginning to suspect something or whatnot. But instead, the second half is largely concerned with Emilia trying to atone for her past wrongs, giving the proceedings a dour and serious, even somber, tone. Most of the laughter comes from wondering what in the hell you're watching, such as when as it swings from a song about vaginaplasty to an Israeli doctor who initially doubts Manitas' seriousness. When it does go big, it's more in the mold of an action movie, keeping everything more melodramatic.

Which isn't to diminish how compelling it is! But that's largely owed to the acting rather than the chaotic script. Saldaña is fantastic at holding your attention and selling the conflict Rita feels, especially as it's clear what she views as her most rewarding work was done in secret and outside the law, aiding a criminal. For my money, though, it's Gascón who most dominates the screen, easily convincing you of how much more confident and comfortable she feels in her new life, as well as how difficult it is to be so close to her children while being unable to tell them who she is, and thus struggling to gain their affection. The dynamic of their relationship is itself quite enjoyable, which is super important since so they share so many scenes.

The songs are a super interesting element of the movie. As mentioned at the beginning, they come in a mix of styles, although it's safe to say most are nontraditional, sonically focusing more on rhythms and the human voice as instrument. There are some big choreographed pieces, such as accompanies the first song, "El Alegato". Others are just plainly spoken while sticking to shot-reverse shot, barely even feeling like a song until you note the rhythmic way the words are being spoken, such as "El Encuentro". The only one which goes big and bright and more traditional is the very silly "La Vaginoplastia", which is also one of the only songs in English. All of them combine to create a very strange vibe throughout, as the lack of fantastic elements in much of their presentation makes you wonder if they're benefitting the story. Sure, if you have Selena Gomez, you should utilize her talents. And they do, although maybe not as much as you'd like, which when combined with the thin plot line they give Jessi leaves her feeling a bit at sea.

All of that said, the movie's boldness is certainly a sight to behold. I think it mostly works, just not well enough that I expect to hear about it come awards time. Maybe Saldaña or Gascón could land an acting nomination, but I doubt it'll join the small collection of movie musicals to get a Best Picture nod this century. Still, a movie doesn't have to be perfect to be worthwhile, and Emilia Pérez certainly makes the case for its existence: you're not going to see anything else like it this year.