Imagine a musical thriller that combines drug trafficking, telenovelas, and a trans storyline. Sounds quite wild, doesn’t it? Well, that’s Emilia Pérez, the latest venture by Jacques Audiard, the French director who doesn’t shy away from breaking the mould and for whom Cannes feels practically like home. In 2009, he won the Grand Prix with A Prophet, and in 2015, he claimed the Palme d’Or with Dheepan. This year, he returns with Emilia Pérez, daring to blend humour, crime, and gender identity, with an intriguing result that earned him the Jury Prize and a well-deserved accolade for the female cast. Additionally, it will represent France at the Academy Awards. A highly ambitious film that has divided critics. Here’s why.
Manitas, a feared Mexican cartel leader (played by the talented Karla Sofía Gascón), decides to leave behind a life of violence to make a choice he had always felt deep within: to transition. Faking his own death and secretly escaping, he convinces his wife (Selena Gomez) and children that he’s no longer alive. Thus, Emilia is born — a new identity with which she not only seeks to start afresh but also to find redemption. However, nothing is simple, and for this, she relies on the help of Rita (Zoe Saldaña), a successful lawyer who, despite being undervalued, becomes her ally in this process.
It’s a tale that embraces extravagance in a vibrant, stylised way, with an aesthetic that holds a touch of kitsch and echoes of Almodóvar. A true explosion of genres that invites an intense and overflowing emotional journey. The musical scenes evoke Broadway, and some of the choreography, with movements reminiscent of TikTok, add a playful and contemporary flair. The music blends electronic beats with traditional Mexican rhythms, although not all the songs manage to shine with equal strength. The humour is so peculiar that at times you’re left wondering: should you laugh or cry, is it pure cringe or a strange fascination? There are genuinely touching moments, like the song the son dedicates to Emilia — funny yet straight to the heart.
Does all of this make sense? Does this mix work? Well, it depends. There are moments when it feels like an eclectic collage, a charming mess that will likely captivate a generation accustomed to visual chaos. But at others, this combination feels like a recipe that doesn’t quite come together. Despite this, it’s enjoyable, and at times, it feels like a wild music video where every scene keeps you on your toes.
Karla Sofía Gascón delivers a memorable performance. It’s remarkable how she transitions from one role to another — from a cartel boss to a woman in search of peace. Though, to be fair, the script sometimes falls short and resorts to certain clichés about trans identity. A somewhat superficial approach that could have been explored more deeply. Even so, Karla’s performance is outstanding, and many are already dreaming of seeing her nominated for an Oscar.
Then there’s Zoe Saldaña as Rita, a tough, elegant lawyer dressed in Saint Laurent suits (the film’s producer) that make her look stunning. Rita is much more than a moral sidekick and has her own moments to shine. And then there’s Selena Gomez, adding drama and pop to the role of the wife, singing in Spanish and exuding charisma all around, although the language sometimes proves tricky, making her hard to understand at times.
Emilia Pérez feels like an experiment designed to challenge contemporary cinema, and the truth is, it succeeds: it dares to be different, even if it occasionally stumbles over stereotypes or in its eagerness to dazzle by tackling too much. It’s a unique experience, full of risk and ambition, the kind of proposal rarely seen. Although it’s already available on Netflix in some countries, in Spain, it hits theatres on 4 December after its showing at the Sevilla Film Festival last week. Don’t miss it on the big screen — every visual and musical detail deserves to be experienced in full splendour.
