Emilia Pérez – Film Review

Directed and written by Jacques Audiard
Collaborative writers: Thomas Bidegain, Nicholas Livecchi, Lea Mysius
Based on a novel by Boris Razon
Starring: Zoe Saldana,  Karla Sofia Gascon, Selena Gomez, Addana Paz

Duration 132  minutes – A Netflix Film.

When this bilingual film starts, a plethora of production company collaborators are credited. I wondered if each threw in ‘a few bob’ to patch this film together or if it would be so good that they all wanted a slice of the credit. It was the latter. Emilia Pérez is directed and co-written by Jacques Audiard with a few nods to Iconic Spanish filmmaker Pedro Almodovar. It is well worth viewing.

We are in Mexico, mid-gangland money laundering, disappearing people and crime with no moral boundaries. ‘Rita Moro Castro’ (an authentic and determined Zoe Salanda) is an underappreciated, overworked female lawyer whose intellectual and strategic work is fronted by an ineffectual male boss. His ‘success’ brings her to the attention of crime boss Juan “Manitas” Del Monte. Del Monte is a sinister, emotionally barren crime boss who doesn’t take no for an answer.

He makes Castro an offer to lift her out of legal oblivion and she accepts it, with all the risks involved, personal and professional. No one usually gets out alive in this company, especially when entrusted with secrets and bank accounts.

What unfolds is an original tale that twists and turns, beguiles and impresses. There are many languages used in the text and it doesn’t impact in anyway on its accessibility,  such is the quality of the performances and the combination of music and dialogue. I am loath to discuss these twists and turns for fear of giving away this innovative, experimental and at times, gripping plot.

There isn’t a dull moment, as the boundaries are pushed in terms of identity, relationships, redemption and family. Selena Gomez is the ‘imprisoned’ gangsters’ moll ‘Jess’, ‘Manitas’ jealously guarded young wife. Jess has every luxury, two sons, and no freedom. Her husband is controlling and sets out her future life and the protection of the sons, all with only Castro taken into full confidence.

The construction of the ‘Manitas’ complete identity is placed in the strong and convincing hands of a magnificent Karla Sofia Gascon, who drives so much of the emotional plot, changing perspective and identity in an emotional rollercoaster where past inevitably catches up with present and in an action-packed way.

All of the violence and domestic intrigue are underscored by an original music score and songs from Dalmais and Ducol, which create a high-energy backdrop in this rapidly moving plot. There are lots of lavish settings and jet-set lifestyles and yet it remains firmly embedded on the streets of Mexico and the struggle to survive. Frenchman Audiard nods to the wit of Amaldovar again in the closing sequences, but let’s be clear, this is an original, creative work based on his opera libretto of the same name. His collaborative screenplay competed for the Palme d’Or at Cannes 2024, lights up and never falters throughout the 132 minutes of a refreshing cinematic treat.

The screen credits alert us also to the fact that this movie ‘Best Actress’ at Cannes. I was stumped to see how they could separate the talent of not only the leading trio but some of the supporting roles too. They got it right. The award went to the female ensemble and it is so good, that it was very well deserved.

‘Emilia Pérez’ is a breath of fresh air. Netflix has freshened up our TV viewing. It is in producing quality films and making coalitions of production companies globally, that it is making another strong impact on the entertainment industry. The writing, great casting and quality production, yet again, remind us that there is no monopoly on quality filmmaking in the exclusively English-speaking world. ‘Emilia Pérez’ more than holds its own and is one you really need to get to know and understand.

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