How Emilia Pérez Boldly Tackles Real-World Issues Through Campy Entertainment

PHOENIX (AZFamily) — What makes something tasteless? It really depends on who you ask.

In Emilia Pérez, we meet Rita Moro Castro, played by Zoe Saldaña. Rita is a lawyer in Mexico who has lost hope due to the rampant corruption in her country. She receives a tempting offer from a drug cartel leader, Juan “Manitas” Del Monte, portrayed by Karla Sofía Gascón. Manitas wants to undergo gender-affirming surgery to transition into a woman. Rita helps arrange the secret surgery, and after her transformation, Manitas adopts the name Emilia Pérez.

Now living a new life, Emilia reconnects with Rita years later. She seeks Rita’s help to reunite with her children and ex-wife Jessi, played by Selena Gomez. Unbeknownst to her family, Emilia is trying to reclaim parts of her old life while working to atone for her past actions.

As I watched the film, I couldn’t help but compare it to Mel Brooks’ The Producers, where the aim is to create something intentionally tasteless. But Emilia Pérez is earnest in its approach, though that sometimes leads it astray. The concept—a drug cartel leader transitioning and searching for redemption—sounds bold. But making it a musical seems to conflict with its serious themes.

I enjoy musicals, having praised other titles like Joker: Folie a Deux. But Emilia Pérez falls short. The film tackles weighty subjects but does so with such a casual tone that it feels disrespectful. Director Jacques Audiard, who has little connection to Mexico, misses the mark. It’s clear he had good intentions, but the execution feels exploitative rather than insightful.

The emotional struggle of a transgender woman trying to find her place is poignant. Yet, when this character is a former gang leader responsible for much suffering, it complicates that empathy. It’s worth discussing transformation, but the film feels too removed from the real issues surrounding corruption and violence in Mexico. The story could have been told in any setting, which detracts from its authenticity.

The music, crafted by Clément Ducol and Camille, is underwhelming. Much of it consists of repetitive lyrics and lacks engaging melodies. While some moments, like the song El Mal, are more energetic and won accolades, it still feels wrong to celebrate a catchy tune that addresses serious societal issues through a lens of entertainment.

There’s potential in Emilia Pérez. The themes of identity and redemption are compelling, but they get lost in the musical format. We spend too much time on dialogue without meaningful character development. The performances, especially from Gascón as Emilia, shine amidst the film’s flaws. Her portrayal of both her former and current selves captures deep emotions, but the film fails to fully explore these complexities.

Saldaña’s portrayal of Rita is decent but suffers from a lack of depth. Her character, unfortunately, doesn’t have much to do but fluctuate between fierce and fearful. Gomez, as Jessi, garners some moments of recognition, but her character could have been better developed.

In conclusion, I appreciate risk-taking in filmmaking. However, risks should come with care and understanding. Although Emilia Pérez has winning accolades and nominations, it ultimately feels like it exploits serious issues for profit rather than addressing them genuinely. The film’s intent seems lost, overshadowed by its questionable taste.

Rating: 3.5/10

Emilia Pérez is currently streaming on Netflix.