_{By: Amanda Guarragi}

Once in a while, there is one incredibly ambitious film that will be polarizing for audiences. The Cannes Palm d’Or winner Emilia Perez, directed by Jacques Audiard, is that film for 2024. There is no way to prepare anyone for the journey they’re about to go on with Audiard. The synopsis does not do the film justice. Thomas Bidegain, Nicolas Livecchi and Audiard created a modern-day musical about a feared drug cartel boss who wants to retire and be the person he was meant to be. 

If you didn’t know, Emilia Perez is a musical. Audiard establishes the socio-political climate in Mexico through the first song with Rita Moro Castro (Zoe Saldana). She is a lawyer who defends horrible people and questions the corruption within the judicial system. When she first wanted to become a lawyer, she entered the profession to help people. Audiard’s direction with the choreography and musical numbers when discussing important issues was executed well. And surprisingly, they were more effective than the dialogue. 

Saldana gives one of her best performances because she is stuck in the middle trying to make everything work for Manitas Del Monte/Emilia Perez (Karla Sofía Gascón). She orchestrates his disappearance and surgery in private while Del Monte detaches from their family. 

Audiard builds an intriguing first half as the musical numbers tell a unique story about a transgendered woman finally becoming the person she has always wanted to be. Gascón is incredible in this role as she transitions from a cartel boss to a woman who wants to help others.

Through the in-depth musical numbers detailing the important factors of undergoing gender affirmation surgery, we see the transition naturally. Castro and Perez work well together because they want to help change their community for the better. Their values have changed, and they feel guilty for standing by for far too long. 

The second half of Emila Perez is where the problem lies. After making the first half all about the transition and how Perez will live her life moving forward, the political issues aren’t enough to sustain an empty second half. The musical focus shifts to the non-profit organization and becomes something for Perez to do. The project works for the moral battle Perez and Castro struggle with, but Audiard doesn’t do anything with it other than make a commercial. 

Furthermore, Perez also fights to see her children through Castro. She keeps the secret from her and acts as a family member of Del Monte. Unfortunately, Gomez delivers the weakest performance out of the three, and it’s not entirely her fault. Gomez has always been a strong actor, but for some reason, Jessi doesn’t showcase her talents apart from her singing.

It seemed as if Gomez was in another film entirely. Mind you, the second act felt completely disjointed and failed to create a compelling ending to book-end the story. No matter how far Perez wanted to leave her old life behind, Jessi was associated with men in the cartel. 

This crime-musical did not know which life to focus on more, which became the issue towards the end. Instead of a narrative balance between the two, Audiard threw away Perez’s new life, reminding everyone that past demons will always come back to haunt you.

Emilia Perez is a bold, ambitious musical by Jacques Audiard that will constantly surprise you. Even though it is a mixed bag, and you may feel conflicted while watching it, his ambition is commendable to make a modern and relevant story.