Heading into Emilia Pérez I knew very little about the film aside from all the buzz it was getting, it was a musical and that Selena Gomez and Zoe Saldana were attached. Imagine my surprise when there was a full blown musical number surrounding vaginoplasty! I thought I may have dove into another Dicks the Musical, which was a lot of fun, but instead I got a truly very sincere look into a gender-affirming story that was a little bit wacky and a whole lot sweet.
Emilia Pérez follows the story of Manitas Del Monte, a Mexican drug lord, who recruits lawyer Rita Moro Castro to help him secretly arrange a sex-change operation. Initially, I assumed the request was for legal reasons, given the involvement of a lawyer and the stereotypical masculinity associated with a drug lord. However, the film taught me a valuable lesson. It’s actually a story about a woman trapped in a man’s body, reminding me not to judge a book by its cover. Rather than using gender reassignment surgery as a plot device for criminal schemes, Emilia Pérez explores how anyone can be affected by gender identity issues, and the joys and challenges that can follow a transition or living a lie.
Karla Sofía Gascón plays Manitas, who eventually becomes Emilia Pérez, giving an incredible performance both before and after the transition. Manitas is grimy and rough, truly frightening and believable as a hardened criminal, whereas Emilia Pérez is kind, soft and elegant. Even seeing the gentleness in Pérez’s eyes when she is reintroduced to and ultimately frightens Rita is such a believable switch from the hardness of Manitas. Gascón is fabulous in both roles.
“With light moments blended with dark so smoothly, you walk out of Emilia Pérez with a heavy, yet somehow happy heart.”
There’s always a certain suspension of disbelief required when watching a musical. In Emilia Pérez, singing dialogue, quirky songs about plastic surgery, and some unusual dance breaks are all part of the experience. The choreography wasn’t overly complex, relying on small, sharp movements rather than full Broadway-style numbers. I particularly enjoyed the sense of urgency and precision in many of the dances, especially from Saldana. While the songs may not be chart-toppers, each was emotional and helped advance the characters. I was pleasantly surprised by Saldana’s vocals and Gascón’s range, and, of course, Gomez was a standout.
I also appreciated the variety in the musical styles, from spoken word and rap to powerful ballads. Some songs were belted out, while others were delivered in a whisper, with rhythmic speech used throughout to keep each number fresh. Several songs featured overlapping verses, telling multiple stories at once, which led to some truly impactful moments in Emilia Pérez. Personally, I could have done without some of the sung conversations, but that’s a matter of preference.
The set design and cinematography in Emilia Pérez were outstanding, transporting the audience from the poverty of Mexico to the opulence of London and back. The film captured both the gritty reality of a drug lord’s life and the luxury of his “widowed” wife’s existence, before returning to a non-profit setting in Mexico. Every piece of furniture, wall, and wardrobe helped set the scene and tone of the story.
Emilia Pérez tells an important story that could have easily come across as insensitive or absurd. However, director and co-writer Jacques Audiard handles the sensitive subject matter with care, ensuring it feels relatable to a broad audience. Thoughtful writing and direction make Emilia Pérez both entertaining and educational, while maintaining sincerity. The seamless blend of light and dark moments leaves you with a heart that feels both heavy and hopeful.
As one of the unknown plots for me at TIFF 2024, Emilia Pérez pleasantly surprised me, and was by far one of the favourites for me this year. Outstanding performances paired with a story worth hearing make this one a win for me!
Check out more of CGMagazine’s TIFF 2024 coverage here throughout the festival.
