Emilia Perez

The musical takes heavy inspiration from Almodovar

Jacques Audiard is a director known for his deep empathy, using it to tell stories about disparate and diverse characters—from 19th-century American cowboys in The Sisters Brothers (2018) to Sri Lankan immigrants in Paris with Dheepan (2015). His latest film explores the lives of women in the dangerous environment of modern-day Mexico.

Emilia Perez (2024) is a musical that follows disillusioned lawyer Rita (Zoë Saldaña), who feels trapped defending unsavory clients, including domestic abusers. When she is summoned by cartel lord Manitas del Monte (Karla Sofía Gascón), Rita is offered an unusual proposition: to help him transition into becoming a woman—Emilia Perez—and arrange a safe haven for his wife (Selena Gomez) and children.

Emilia Perez takes significant inspiration from Pedro Almodóvar, particularly in its themes of female empowerment, dark humor, and Sirkian aesthetic. This influence helps soften the film’s heavy subject matter, which delves into the victims who go missing at the hands of the cartel. The Almodóvar touch is also evident in the narrative structure, with each act introducing unexpected twists that shift the film’s focus. However, these narrative shifts sometimes go too far, altering the story, setting, and stakes one too many times, making character arcs feel less authentic and distracting from the compelling moral dilemma at its core.

Despite little promotional emphasis on its musical aspect, Emilia Perez features many catchy numbers. Saldaña, in particular, stands out with impressive singing and dynamic choreography. However, Audiard’s musical approach occasionally misfires. Some simple scenes that would typically require a minute of dialogue are unnecessarily extended into song, yet the dialogue is not properly transitioned into lyrics. This results in actors awkwardly delivering exposition with exaggerated intonation rather than fluid musicality. Nevertheless, other numbers burst from the screen with energy and emotional weight, even moving the audience to tears.

The film’s largely female cast, which collectively won the Palme d’Or for Best Actress (similar to the ensemble cast of Almodóvar’s Volver (2006)), is worthy of praise. Saldaña is spectacular in the first act, showcasing an impressively convincing Mexican accent (she is of Dominican and Puerto Rican descent), while delivering layers of emotion, dancing, and singing unlike anything we’ve seen from her before. However, it’s disappointing that she is sidelined for the second and third acts. Gascón is equally compelling in the title role—this being her first film after transitioning—commanding the screen with a powerful presence. She deftly navigates Emilia’s internal struggle, not just in terms of gender identity but in grappling with her violent past and quest for redemption. Gomez delivers one of her most nuanced performances yet, pushing beyond the limits of her previous roles. However, the former Disney Channel star appears uncomfortable with the Spanish-language dialogue, struggling to suppress an American accent and restraining herself from fully immersing in her character.

Ultimately, Emilia Perez is an empowering and engaging musical that will particularly resonate with Almodóvar fans. Audiard assembles a stellar female-led cast, with standout performances from Saldaña and Gascón that elevate the narrative. However, the film stumbles with its overuse of musical numbers and excessive melodramatic shifts, diluting the strength of its character arcs.

7.4/10