★★★★★

As a seasoned cinephile who has spent countless hours in the dimly lit corners of cinema halls, I can confidently say that Emilia Pérez is a cinematic tour de force that deserves your undivided attention. This musical masterpiece, directed by the enigmatic Jacques Audiard, is an audacious departure from his usual gritty dramas, and it’s nothing short of breathtaking.

Emilia Pérez is on Netflix now. Add it to your watchlist. 

The musical “Emilia Pérez” is an imaginative, groundbreaking work that pushes the boundaries within its genre, born from the creative genius of Jacques Audiard. It’s a captivating, globe-trotting story that seamlessly blurs the lines between gender identities and artistic genres.

The director from France, known for hard-hitting dramas like “A Prophet” and the award-winning “Dheepan“, has never ventured into musical films before, and publicly expressed minimal enthusiasm for the elaborate musical productions of Hollywood’s Golden Age.

However, “Emilia Pérez” is a movie that skillfully selects elements from various genres to create something completely fresh and invigorating.

The film begins with the dedicated but overworked counsellor at law Rita (Avatar star Zoe Saldaña) taking a mysterious and slightly ominous call. Summoned to a newsstand, Rita is bundled into a vehicle, where she meets drug lord Manitas Del Monte (Karla Sofía Gascón).

Asking Rita for her assistance, it’s important to clarify that this isn’t about helping Manitas evade legal trouble. In fact, Manitas – a notorious cartel leader – has been receiving hormone therapy for the past two years. Manitas is seeking to transition and wants Rita’s help in arranging the necessary surgery.

As a movie enthusiast, I must say that the yearning of Manitas, subtly reimagined by Audiard from Boris Razon’s 2018 novel “Écoute,” skillfully avoids plunging Emilia Pérez into the depths of melodramatic excess. Instead, it masterfully weaves a captivating tale that keeps me on the edge of my seat.

Despite the film’s significant changes in tone as Manitas transforms into Emilia, Audiard masterfully maintains a sense of balance, orchestrating the scenes as if on a tightrope. With the drug lord’s death scene fabricated, even Jessi (Selena Gomez), his spouse and mother to their children, is led to believe that her husband has perished.

Later on, when things get going again, Rita encounters Emilia during a meal, at first not recognizing her. As it turns out, Emilia is not only aiming to reconcile with Jessi and her distant relatives, but also shed light on an issue close to Mexican society – the people who have vanished due to corrupt officials.

Indeed, I find myself utterly amazed by the transformation this Narcos narrative undergoes, delicately weaving themes of gender identity and ultimately unfolding into a compelling tale about social justice. Kudos to Audiard and Thomas Bidegain for such an impressive blend of storylines!

Supporting the intricate plotline is an unforgettable soundtrack and tunes from the talented French couple, Clément Ducol (composer) and Camille (singer).

Similarly captivating is the choreography by Damien Jalet, who has previously collaborated on Luca Guadagnino’s remake of Dario Argento’s giallo horror film “Suspiria”, with its distinctive dance scenes. Certain performances, such as “Vaginoplastia”, a spectacular Busby Berkeley-esque number where Rita persuades a Tel Aviv surgeon to assist Manitas, are bound to leave you astonished with your jaw dropped open.

Yet, these women – Gascón, Saldaña, Gomez, and Adriana Paz (Epifanía) – played pivotal roles in making the story come alive. They were all honored with Best Actress awards at this year’s Cannes Film Festival.

Regardless of Saldaña and Gomez delivering strong performances in Spanish, they are surpassed by Gascón, who impressively plays both Manitas and Emilia after undergoing sex reassignment surgery. It’s quite likely that she will become the first transgender actress to receive a Best Actress Oscar nomination next year.

Concerning Audiard, who witnessed this film earn the Jury prize at Cannes this year, this production takes him well beyond his accustomed territory – although the raw underworld setting may still seem reminiscent of earlier works such as his 2005 adaptation of “The Beat That My Heart Skipped.” Audiard’s handling of musical scenes, in conjunction with his team, is thrilling. However, what truly stands out is how Emilia Pérez skillfully traverses various genres.

This year, you won’t find a film quite like the extraordinary narrative that outshines both “Breaking Bad” and “Narcos”. It stands apart from the usual.

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2024-11-08 17:35