Even its stars can’t describe the genre-bending ‘Emilia Pérez’: ‘Rarer than a green dog’

As I delve deeper into the captivating narrative of “Emilia Pérez,” I find myself profoundly moved by the raw passion and dedication that each actor has poured into their respective roles. The collaboration between Gascón, Saldaña, and Audiard is nothing short of inspiring, a testament to the power of trust, creativity, and fearless experimentation in the realm of cinematic storytelling.

Title character “Emilia Pérez” represents a remarkable cinematic exploration delving into the courage required to forge one’s unique path through uncharted territories. As she navigates her transformative gender journey, which propels her away from her turbulent drug-trafficking past and towards a peaceful domestic future under the direction of Jacques Audiard, an intriguing Spanish-language musical unfolds. The film’s extravagant exterior style serves as a backdrop for its profound introspection into the personal experiences of contemporary Mexican women.

At the Cannes Film Festival in May, the movie they were all part of won an actress award. This honor was bestowed upon the entire cast: Karla Sofía Gascón, Zoe Saldaña, Selena Gomez (and Adriana Paz). Their shared victory is a testament to their collective efforts, as their roles in this unique blend of campy and sincere musical clearly demonstrate a collaborative spirit.

Just don’t describe it as a “narco-musical.”

52-year-old Spanish actor Gascón, known for his work in Mexico since 2009 and publicly recognized as trans since 2018, expresses disapproval by stating: “I’m not a fan of how journalists single out that aspect or solely focus on it.

She further states, in her native Spanish, “Reflecting on it, there’s barely any discussion about drug crimes here. You won’t find drug trafficking here. It simply doesn’t exist. I can’t fathom why some journalists insist on creating sensationalistic headlines — ‘narco’ this, ‘trans’ that. I’ve consistently maintained: This is not a depiction of reality.

On a Sunday afternoon following a Hollywood BAFTA screening, as we gathered for a Q&A session, the trio of us couldn’t help but express our thoughts to The Times about the upcoming film “Emilia Pérez,” set to release in limited theaters on November 1st and stream on Netflix from the 13th. This movie is not easily summed up or labeled. Draped in my oversized blazer during the event, I found myself captivated by the script. I recall thinking, “I’m not sure how this film will be made, but I knew it would be something extraordinary.” That’s what intrigued me about it.

As I set aside my heels for our conversation, I couldn’t help but express my thoughts more vividly: “When I first laid eyes on the script, I honestly believed it would never see the light of day. It was so unique, so bizarre, so unlike anything else. I honestly didn’t think we’d ever be able to bring it to life. It felt almost like a fantasy. But if by some miracle we were to make it, I envisioned it being akin to ‘The Rocky Horror Picture Show.’ It’s that rare, that extraordinary – not your everyday affair.

“Then again, I’m rarer than a blue dog,” Gascón quips.

Emilia Pérez – A Musical Drama with a Twist

The tale unfolds in a fantastical depiction of Mexico, envisioned by a French director, featuring music composed by Camille and Clement Ducol. This production was filmed on a Parisian soundstage. Interestingly, the script was penned in both French, English, and Spanish. For Saldaña and Gomez, this film served as a meaningful connection to their heritage rather than what one might anticipate.

In our conversation, I find myself effortlessly switching between English and Spanish, a testament to the fact that Spanish was the language I first heard as a child, as I shared with you at the age of 46.

Growing up, my mother would sing me lullabies in Spanish, which created a sense of familiarity and longing for home within me. I didn’t intentionally seek out a movie like ‘Emilia Perez’ or the role of Rita, but it became something I needed. The making of ‘Emilia Perez’ was therapeutic for me.

The actress from “Avatar” plays Rita, a kind-hearted lawyer who later becomes Emilia’s trusted assistant when they set up a nonprofit organization aimed at providing closure to families affected by Mexico’s cartel violence. In the powerful musical number “El Mal,” staged during a glamorous fundraising event, Rita passionately sings and raps about the ethical dilemmas she faced in order to make Emilia’s altruistic foundation thrive.

In a striking red velvet pantsuit and white t-shirt, Saldaña dances in sync with the rhythm of her powerful rapping. Similar to several performances in “Emilia Pérez”, Rita’s impactful performance serves as a dream sequence where those surrounding her remain oblivious to her anger.

For Gomez’s character Jessi in “Only Murders in the Building”, it’s revealed she shared many similarities with a young Mexican American woman who was always striving to feel more at ease – physically, at home, and with her own language. Interestingly, her most memorable performance, the upbeat pop song “Mi Camino,” serves as a tribute to self-acceptance, with Gomez singing lyrics like “Quiero quererme a mí misma” (“I want to love myself as I am”).

Gomez, at 32 years old, expresses that Jessi’s tale was particularly captivating for him due to his extensive time in the public eye. He explains this connection by recalling instances where he found himself in situations similar to hers – feeling confined and having to adjust to fit others’ expectations. He empathized with her desire to escape and assert her individuality.

In an unexpected twist, taking on the role of Jessi marks uncharted territory for this Emmy-nominated multi-talent. Initially presented as a narco wife with bleach-blond hair and a figure-hugging dress, she struggles to comprehend the loss of her husband and extravagant lifestyle after being relocated abroad by Rita.

In the future, Jessi is requested to relocate back to Mexico to reside with Emilia, someone unfamiliar to her, but a person tasked with providing Manitas’ remaining kin with all they could ever require. Emilia, naturally, needs to conceal her real identity from his former spouse. The movie portrays this move as a risk that signifies both Emilia’s progress and her desire to maintain ties with the life she has forsaken.

Despite finding it challenging due to her limited fluency in the language since childhood, Gomez strived to uncover the sincerity hidden within the material. Unveiling these subtle vocal inflections, Audiard conceded, wasn’t a skill he excelled at.

He mentions, via Zoom from a distance across town with the aid of a translator, “I could’ve had others translate if necessary, but I don’t always require comprehension. It’s crucial to keep moving, expressing, and creating music. The rhythm and melody in the text are fascinating – the way words flow, like notes in a song, is what truly captivates me.

Key moments in Emilia’s journey are significantly impactful due to Audiard’s skill in creating lasting visuals. In a crucial scene where the audience encounters Emilia after her numerous gender-affirming operations, the director skillfully portrays her in a hushed moment of raw vulnerability. As Emilia adjusts her bra before departing from the hospital for good, she tentatively experiments with using her new name.

She repeatedly asserts, “I am Emilia Pérez,” adjusting her tone slightly. Seemingly searching for a voice she’s lost for some time, a voice distinct from the gravelly Marlon Brando in “Apocalypse Now” and Sylvester Stallone’s Rambo that Gascón had created for his crime lord character, Manitas.

Gascón admitted that shooting that particular scene was extremely challenging. He laughed, cried, and bared himself with numerous scars. Mentally, it was quite exhausting. During the shoot, they captured the scene from various angles. However, he found it more beautiful when viewed from behind. Upon seeing the shot, he told Jacques, “This must be the poster. It encapsulates everything about the film.” In response, Jacques, who was probably getting quite irritated by then, said, “If you think you can direct this film, take it!

During their year-long creative partnership, Gascón and Audiard’s playful banter was a defining characteristic. When Audiard selected Gascón, an experienced actor with a career dating back to 1994, he recognized in him a relentless collaborator who would transform the role of Emilia from the young, tough character originally conceived, into something more nuanced. Gascón frequently spent her off-set hours penning and revising dialogues, as well as jotting down ideas she would send to the director late at night. In many ways, it was Gascón who molded Emilia – almost in her own likeness.

According to Gascón, he handed over everything he had to Emilia. Not just his possessions, but his heart and spirit. One of his earliest jobs was as a puppeteer on Italian and Spanish television. He recalls the first time he saw one of the puppets, seemingly lifeless with only a rag and plastic head. But he breathed life into them by giving them a voice, their soul. And just like that, they became renowned. This reminded him of the incredible feeling of creation. It’s as if there was nothing, and then, magically, there was life. He feels as though he’s given her his very best.

Gascón playfully suggests that she’s yet to find a method to retrieve what she portrayed on-screen. “I poured out my entire spirit into Emilia. Now, I find myself returning to reclaim it once more, nearly.

As I sat down to pen my thoughts on this cinematic gem, I found myself at a loss for words – not because it lacked substance, but because it defied categorization. In essence, it was a fascinating amalgamation of an exploration and an immersion, as Saldaña eloquently put it.

Before we stepped onto the set for filming, numerous rehearsals and workshops provided a space where I could confidently express my ideas or concerns. While improvisation was limited during shooting, Arnaud’s tireless rewriting of the script enabled him to incorporate valuable feedback from both cast and crew, making our collaborative efforts truly impactful.

“I don’t take every idea,” Audiard clarifies. “But I always listen to my actors.”

Gomez learned the importance of trust during the production when a song deemed too explicit by Jessi was removed from the movie. Audiard believes this tune could feature in Camille’s future work. Quick adaptations were crucial throughout the project. For example, “Mi Camino” was not initially planned as a karaoke scene. As Gomez remembers, “We had weeks of dance rehearsals for that song, but on the day we filmed, Jacques preferred the karaoke version. He kept urging, ‘Keep going! Keep going!’

In “Emilia Pérez,” there are numerous instances that resonate profoundly. These moments stem from the intense vulnerability portrayed by Gomez, Saldaña, and Gascón in Audiard’s elaborate musical production. Their powerful performances transcend the film’s unconventional premise, and by the end of the movie, they leave a lasting impact on the viewers, deeply touching their emotions.

Zoe Saldana notes, “This movie is special because it transcends traditional genres, and yet manages to seamlessly blend elements from each.

She mentions that after meeting some viewers, they found themselves at a loss for words. As she puts it, “Their minds trail behind due to their hearts racing ahead.

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2024-10-30 00:02