Emilia Pérez Is an Exuberant Ode to Human Possibility

As a cisgender woman who has spent a significant portion of her life advocating for equality and understanding among all people, I find “Emilia Pérez” to be a breathtakingly powerful and poignant work of art. It is a testament to human resilience, courage, and the transformative power of love that transcends societal norms.

In uncommon instances, a film comes along at an opportune moment when empathy seems scarce and our collective human creativity appears diminished. Jacques Audiard’s musical drama, titled Emilia Pérez , tells the tale of Zoe Saldaña’s character, Rita, a lawyer who’s nearly overwhelmed by her own success. She has recently defended a murderer, though she’s aware of his guilt. Suddenly, she receives an unexpected phone call from a cryptic, gravelly voice, asking for a meeting. Transported to an undisclosed location, Rita encounters Juan “Manitas” Del Monte, the ruthless leader of a drug cartel, who bears tattoos reminiscent of a tough guy but requests a delicate, profitable task: he wants Rita to arrange his gender transition surgery and subsequent disappearance. Rita carries out the plan successfully, with Manitas re-emerging years later as Emilia Pérez (portrayed by Karla Sofía Gascón in dual roles). Now living authentically, she embarks on a new life. However, Rita believes her mission is complete, unaware that it’s merely starting anew.

In both fiction and real life, it’s often tempting to consider the realization of a dream – such as receiving a wedding ring, earning a college degree, or undergoing gender-affirmation surgery – as a perfect ending. However, Emilia Pérez is not a story about personal satisfaction but rather about self-accountability, exploring the “what comes next?” once you’ve become the person you were meant to be.

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Director Audiard skillfully manages the chaos of the storyline, much like an experienced maestro leading an orchestra. The musical sequences are vibrant and passionate, yet retain a raw, unpolished edge. This isn’t a film about flaunting wealth, but rather about taking risks without hesitation. It’s captivating to witness Saldaña, who once portrayed the rebellious ballerina in Nicholas Hytner’s Center Stage, express herself through song and dance in a role that truly suits her talents. The number “El Mal” showcases Bollywood influences, criticizing hypocritical individuals who attend lavish events while having no qualms about harming those who obstruct them. Saldaña delivers the tune with an angry swagger. Rita is a multifaceted character: she adheres to principles, but she’s also driven by financial gain. She’s not a stereotypical do-gooder. Saldaña brings authenticity and realism to these layers of her character.

It’s serendipitous that Saldaña managed to become part of a Jacques Audiard production. His cinematic journey is hard to define as it spans various genres – from poignant dramas like ‘Rust and Bone’, innovative westerns such as ‘The Sisters Brothers’, to gritty love stories like ‘The Beat That My Heart Skipped’. However, the theme of aspiration seems to be a common thread in his work, and this is particularly true for ‘Emilia Pérez’. Audiard has found an exceptional actress to bring his vision to life. Gascón, born and raised near Madrid, is in her early fifties and transitioned at age 46. She’s spent most of her career acting in Mexican soap operas. In ‘Emilia Pérez’, she delivers a vibrant performance. As Manitas, she portrays a character who is ready to relinquish his masculine dominance – this is poignantly shown in the soft but resolute “Deseo” scene. Yet, we later discover that Emilia’s character still harbors a tendency to control others. She embodies many aspects because humans are complex. Gascón’s acting is brave, assertive, yet tenderly passionate. There’s a pragmatic quality about her reminiscent of Joan Crawford in ‘Mildred Pierce’, but she can also exude the sultry charm of Lana Turner. She has an uncanny ability to connect us with deep emotions, no matter how much we may try to avoid them.

It seems that around half the nation is grappling with intense feelings they’d prefer to avoid. In the progressive areas of the U.S. during the 1990s, it was common to see “Practice Radical Acts of Kindness” stickers on Honda Accords. Even those who embraced liberal values might scoff at such catchphrases; they were typically associated with individuals who made their own granola and regularly attended peace marches. They likely had a compost pile. This phrase, like many maxims, could be interpreted differently by various people: for instance, a racist grandmother who goes out of her way to bake cookies for a mourning neighbor might believe she’s fulfilling the requirement.

To put it another way, it’s worth mentioning that the film “Emilia Pérez,” which was awarded at Cannes last May and garnered praise from many, has also sparked controversy among some viewers. Two individuals I spoke to strongly disliked the movie, arguing that it failed to accurately portray the experiences of transgender individuals. Despite this, I enjoyed the film before the election and found it thought-provoking.

Despite the challenges involved in representing diverse experiences through cinema, the lived experiences of individuals undeniably contribute to art. Everyone is entitled to their own opinions when it comes to art, but the impact of a film like “Emilia Pérez,” which resonates with many people, carries significant weight, particularly in late fall 2024.

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2024-11-13 18:08