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The family is a man’s greatest asset – many a traditionalist would testify. What will happen in a world that is binary no more? A married man and a dad of two, Manitas becomes Emilia Pérez (Karla Sofía Gascón) in Jacques Audiard’s dark comedy musical drama, and we land up in a state of moral, ethical, and emotional perplexity.
Emilia Pérez kicks off with Rita Mora Castro (Zoe Saldaña) who lives a sluggish life as a lawyer orchestrating her boss’ court appearances to thankless results. One night, the woman gets kidnapped by a wealthy mobster who places a strange request. What’s the perk? Rita is going to be rich.
Before it settles down in Mexico City for good, Emilia Pérez is a globetrotter musical. The establishing shots of the cityscapes are gorgeous and the quirky musical numbers keep us in splits. In no time, Manitas becomes a voluptuous woman named Emilia Pérez and Rita begins to live a comfortable life in London. Where does it leave the former biological man’s wife Jessica (Selena Gomez) and their school-going sons?
Audiard’s film changes gears once the protagonist re-enters as a woman. Unlike Manitas, Emilia is kind, empathetic, and a picture of poise. She is no longer violent and agitated despite the devices and money. In no time, she becomes a humanitarian and wins everybody’s hearts, including Rita’s. Emilia even gets her children back. Now, I’ll get back to the former question: Where does Jessica stand in this mayhem? The answer is nowhere.
Some of the film’s tricky moments are between Gascón and Gomez. “Did you ever cheat on Manitas?” – asks Emilia in a moment that exposes the complexity of their status quo. Its awkwardness makes the film all the more tense. We wait for the duo to have the chat which finally happens in the most improbable of moments.
Emilia Pérez packs many topsy-turvy turns in its close to two-hour runtime. The story (based on Audiard’s play of the same name) is its most valuable asset. So, the plot is not the most realistic one you would encounter at a film festival. But in a movie designed (also) with a commercial vision, the cinematic liberties it employs reap rich dividends. Emilia Pérez is pure cinema that spells glamour in the most wicked and violent moment. The songs (Camille) are characteristic of the film’s mood to catch us unawares with their melody and wit.
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The most redeeming quality of Jacques Audiard’s film is that it is fiercely feminist. The film mostly has female characters, and each of them is fiery and strong-willed. One sequence that takes the cake is when Epifania (Adriana Paz) meets Emilia for the first time with a kitchen knife in her purse. The conversation that follows rips theories of patriarchy apart. Ditto for the shocking finale in the car where Jessica makes a decision. The woman knows what is good for her. And lastly, the first time Rita meets Emilia in London is marvelously conceived with surreal expressions and clever camera movements. Although we know what is happening, Audiard’s method to land it with a thud deserves extra plaudits.
Saldaña, Gascón, and Gomez are competent actors who nail highly physical performances. They wonderfully retain the film’s tonal consistency as it slips from dialogue to song. Adriana Paz in a key supporting part is so radiant that we wish there were more of her.
Lastly, it’s no surprise Emilia Pérez is a violent fare. What sends it into realms of greatness is its ability to breathe life into the most unhinged plot twists. At its core, Jacques Audiard’s film is a fascinating human story of women, their dreams, and their needs. The sound, fury, and humor are only delightfully incidental.
Rating: ★★★★
