Emilia Pérez reassures that cinema has the power to make just about any concept work
No spoilers
An infamous cartel boss seeks out a competent lawyer to help him achieve his lifelong dream of transitioning into a woman. To do that, the lawyer must assist him in faking his death, creating new identities for his wife and children (who will also be convinced by the cover-up), and have the necessary surgery. So far, it's an interesting concept, but that's only the start of Jacques Audiard’s Emilia Pérez. The twist to this gangster-crime-drama is that it’s also a musical. Suddenly, this makes the concept somewhat outlandish, but the execution is impressive.
Zoe Salanda stars as Rita Moro Castro, the lawyer in this tale alongside Karla Sofía Gascón as Manitas Del Monte (the cartel boss) until transformed into the character of Emilia Pérez post-surgery. The transformation is highly impressive. Not just the character but also Gascón’s ability to perform two completely distinctive personas. Although Gascón will be campaigned as the lead actress for the Oscars, this is Salanda’s character’s journey. After Rita helps Manitas fully transition into Emilia Pérez, the ex-druglord resurfaces in her life years later, asking for one last favour to pull off.
Selena Gomez also stars in this supreme work as Manitas’ wife and mother of his children. Uncertain of Gomez’s performance at first, she thankfully blossoms into her role as a cartel boss’ wife and does it with admirable style. It wasn’t just Gomez’s performance that required time to mature for you to realise what you’re witnessing here is good work. The opening musical number strikes the same uncertainty, setting in the worry that you’re committing yourself to two hours and 10 minutes of a theatrical and camp musical that might lean towards being unbearable. But just like Gomez’s performance, Audiard reassures you as you’re pulled deeper into the story.
The music takes some getting used to until the staff and patients at the sex change clinic in Tel Aviv burst out into song, singing about penises, vaginas and Adams apples. Suddenly it becomes more warming. There’s a lot of amusement and fun in Emilia Pérez. While at times the story feels light, darkness emerges as we progress further, going deeper into its themes of crime and cartel violence. All aspects of Emilia Pérez mature into something more serious than the outset, becoming a work to be respected. Even the music follows the same tone, bringing about at least one number that will stay with you.
Emilia Pérez’s competence in fulfilling such an idiosyncratic concept is a reassuring reminder of cinema’s power to combine the elements of visual language and sound to create something truly spectacular. Also, a verification that the art form is a finite journey, with more greatness still yet to come.
Out in UK cinemas 25th October