EMILIA PEREZ is a deeply odd and sporadically successful film from French auteur Jacques Audiard (A PROPHET, DHEEPAN). It comes to London having won the coveted Cannes Jury Prize and features a story and characters rarely centred on screen. Some of the musical numbers are stunning. But I found myself over-stuffed, confused and adrift.
Despite the film's name, the protagonist is actually a lawyer called Rita played superbly by Zoe Saldana (GUARDIANS OF THE GALAXY). When we meet her she is a poor but smart lawyer frustrated at the lack of opportunities her skin colour condemns her to. The opening numbers as she writes a speech in a food market, and then discusses her options with some cleaners, are brilliantly rendered with powerful dynamic choreography.
Rita's life is changed when a drug lord called Manitas (Karla Sofia Garcon) hires her to facilitate his gender reassignment surgery and to hide his wife Jessi (Selena Gomez - Only Murders In The Building) and their two young sons in Switzerland. That should be the end of their relationship but four years later the now Emilia Perez asks Rita to facilitate her return to Mexico, and to also bring back her children and their mother who will live with their "Auntie".
Once again, this should be the end of their relationship, but Emilia and Rita end up founding a charity to find the disappeared people of Mexico, victims of the drug war that Manitas was complicit in. Along the way, Emilia finds love with Epifania (Adriana Paz) and Jessi finds love with her ex-lover Gustavo (Edgar Ramirez). It's only at this point that Emilia's control is upended and in fear of losing her children, Manitas' nasty language and manner break through Emilia's polished new persona.
There's lots to love in this film. As I said the two opening numbers and Saldana's critique of Mexico's corrupt rich at a fund-raising gala are fantastic. It's rare and moving to see a trans story centred, and to see what Manitas has to sacrifice to live her authentic life. We absolutely feel her pain at not being able to confess to being her son's father. I also admired the concise way in which the love story between Emilia and Epifania is told. Kudos to Karla Sofia Garcon for pulling of a layered and complex role.
But there's a lot to criticise too. First, Rita is a cipher not a protagonist. After the prologue we never really understand her motives or see any kind of life outside of Emilia. She is just an observer. I needed more time with her, or to see more layers to her in the contemporary storyline. The same goes for Jessi who is just a ditzy superficial floozy until basically the final five minutes of the film. What a waste of Selena Gomez' talent? And Epifania is similarly shortchanged. It's like a weird trans version of the Bechdel problem. In the most uncharitable reading, who are these women outside of Emilia except for people who she manipulates into satisfying her desires?
Finally, some plot holes. If it's so secret and dangerous that Manitas is having gender reassignment surgery, why does Rita fly the Israeli doctor over to Mexico? And if Manitas' little boy realises Emilia smells like Papa, then why doesn't Jessi? I know that in some ways she just think Emilia looks like her cousin Manitas but it's clear Emilia is a trans woman. Can she not figure it out? That she doesn't makes her character even more stupid and frankly unbelievable.
EMILIA PEREZ has a running time of 130 minutes and is rated R. It played Cannes where it won the Jury prize and the ensemble female cast won Best Actress. It will be released in the USA on November 1st in cinemas and then on November 13th on Netflix.
