‘Emilia Pérez’ Review – A Bold And Commanding Movie That Surprisingly Works [Cannes 2024]

Making a feature about a notorious drug lord undergoing a sex change is one thing; however, turning it into half a musical journey to self-discovery and helping others (not by selling them drugs) is another. But no matter how bonkers this idea seems, Jacques Audiard (Dheepan, Paris, 13th District) accomplishes it all in Emilia Pérez, the first feature about a transperson premiering at the Cannes Film Festival. To take on that nearly impossible task, with him are three phenomenal leading ladies (Zoe Saldana, Karla Sofia Gascon, and Selena Gomez) an ultra-creative writing team (consisting of Thomas Bidegain, Léa Mysius, and Audiard himself), and the multi-diverse cinematography by Paul Guilhaume (The Five Devils, Ava).

We wouldn’t blame you if you thought that, going in blindly, you would think that this movie would be about something different than it is. Despite being on the winning side of a much talked about court case, headstrong lawyer Rita (Saldana) doesn’t feel overjoyed with the results as her client, a possible killer, is walking free. The acquittal doesn’t go unnoticed by the crooks and criminals of Mexico as Rita, soon after the win, is kidnapped and forcibly hired by a lord of a drug cartel, Manitas del Monte (Gascon). Not because he wants her to defend him in court but because he wants her to find a surgeon who can perform a sex operation on him. As if this story doesn’t sound wild enough, Rita and Manitas have been bursting into song several times already.

Don’t expect the songs, written by Clément Ducol and musician Camille, to be there just for entertainment purposes. They contribute to the progression of the storyline as the lyrics and the movements genuinely convey how the characters feel and what they might do next. Of course, the kitschy element comes with musical numbers, but the songs are much more character-driven than you would think. While there are many memorable musical interludes in this feature – of which the first few might seem out of place – the most riveting ones involve Jessi (Gomez), Manitas’ wife, singing about loving yourself and Rita sharing her thoughts on the people attending her fundraising gala.

That gala is being held to collect money for La Lucecita, an NGO Rita and Emilia Pérez (Manitas’ new name) started in Mexico four years after the life-changing surgery. They want to help strangers find their missing loved ones, but at the same time, they also have to find themselves. Rita still doubts whether giving up her job as a lawyer was the best decision.

While Emilia had a wife and two kids when she was still a he, things are now slightly different. Her previous family still surrounds her, but instead of being the father and husband, she’s now the devoted auntie and sister-in-law. That navigation through her new life gives Emilia a chance to once again spend time with the people she loves, and it’s also the perfect opportunity for director Audiard to introduce the world to Gascon (The Noble Family, Wild Heart), to whom this entire movie belongs.

You wouldn’t say that by looking at the characters, this incredible transgender Spanish actress plays both Manitas and Emilia. Gascon nails every trait of both people. The toxic masculinity level of Manitas goes through the roof. Still, there’s also a glimmer of sadness and the longing to fulfill his lifelong dream of becoming a woman coming through. Once the transition happens, there’s a massive change in Gascon’s performance. With her energetic tour-de-force turn, she shows us the joy of life when you can finally be who you want to be, but also the struggles she faces as a transgender person who wants to keep her identity secret and as a professional businesswoman who tries to make her previous wrongs right.

Strong women surround both Gascon and her character. Saldana (Colombiana, Avatar: The Way of Water) excels in the role of Rita, as the lawyer who, in the character’s own words, ‘has to eat shit’, and as the friend who will do anything to help the people she cares about. No matter the consequences. This film is also the perfect opportunity for Gomez (Only Murders in the Building) to showcase her acting talent. Casting her might have been a bit of a gamble, but it certainly paid off. She beautifully captures the duality of feelings her character is going through. While Jessi’s the grieving wife/widow who’s now ready to find love again, she also still feels the result of a harsh and rough upbringing in Mexico ruled by the drug cartel run by her partner.

On paper, Emilia Pérez is a film that shouldn’t work and that would give Megalopolis a run for its money, but miraculously, it works! Audiard’s bold and commanding take on the many different storylines, the inclusion of essential topics such as trans people, finding yourself, and the brutality still going on in Mexico, enlivening songs (“Rhinoplasty! Mammoplasty! Vaginoplasty!”, everyone) and three leading ladies who knock it out of the park.

Emilia Pérez held its World Premiere as a part of the In Competition section of the 2024 Cannes Film Festival. The movie will be released in France on August 28th courtesy of Pathé. There is no US release date yet.

Director: Jacques Audiard

Screenwriters: Jacques Audiard, Thomas Bidegain, Léa Mysius

Rated: NR

Runtime: 130m