Emilia Pérez Review

If there’s a singular reason to see the films of writer-director Jacques Audiard, it’s that they rarely take it easy. After his lifeless adaptation of The Sisters Brothers, Audiard has course-corrected, exploding with his latest, Emilia Pérez, a truly raucous effort. Does that mean he’s made a film worth watching? Forgive me if all I can muster is that he has definitely (defiantly?) made something.

Led by Zoe Saldaña, as lawyer and confidant Rita, Emilia Pérez is the story of its titular character, who begins the film as a man before a much-desired transition introduces her to the world as a woman. Because this is an Audiard film (drawn from his own libretto and inspired by Boris Razon’s novel), it’s not just that. Played in both states by Karla Sofía Gascón (giving a remarkable performance), Emilia doesn’t just become a woman, she transforms into a better person—shedding her identity as a cartel kingpin to become a big-time Mexican benefactor seeking to right past injustices. And owing to its operatic roots, the film is also a musical, with the cast breaking into song (some better than others) to further heighten its extremes. To say Audiard’s film is overheated is an understatement—like it or not, that’s part of the design. Unfortunately, while he indeed doesn’t take it easy, his film feels facile. Meanwhile, even with songs performed by Selena Gomez, I doubt many will come out whistling the tunes.

In effect, Audiard has made his very own telenovela, a style he’s well-suited to, given his melodramatic desire. There’s a reality to Emilia Pérez, but it’s predicated on his usual frank and absurdist writing. Ironically, while it burned me out, it also feels like it could have used a few more episodes. The desire for more, more, more is there, yet not the time. Just don’t tell Audiard that, or we’ll get a sequel.