Exploring Identity and Crime in “Emilia Pérez”
In the whimsically unconventional film “Emilia Pérez,” director Jacques Audiard captivates audiences with a barrage of striking visuals and unexpected narratives. The film unfolds with gritty crime-scene photographs, an ominous cartel leader, and a lively performance by Zoe Saldaña, leaving viewers on the edge of their seats. Set against the vibrant backdrop of contemporary Mexico City, the fast-paced plot centers around a beleaguered lawyer named Rita, portrayed compellingly by Saldaña. Rita is enlisted by a formidable drug lord known as Manitas, a character brought to life brilliantly by Karla Sofía Gascón, for a rather unusual and personal mission.
Manitas, who presents as a man yet identifies as a woman, seeks Rita’s assistance in discreetly obtaining gender-affirming surgery while also addressing the myriad complications arising from a violent criminal enterprise. Audiard, a celebrated French filmmaker known for his eclectic storytelling, often delves into the lives of marginalized characters and narratives. His penchant for crime stories is evident, as seen in one of his most lauded works, “A Prophet,” which predominantly takes place within the confines of a prison. Audiard has a unique talent for blending and bending genres, often challenging conventions and embracing an unorthodox approach that extends to his characterizations.
The story’s twists and turns in “Emilia Pérez” emerge with rapid intensity. Following a brisk and eventful introduction that includes a murder trial, an unjust verdict, and two musical performances, Rita finds herself in a precarious situation. She is whisked away to a secretive location by armed strangers, her vision obscured. Soon, she sits face-to-face with Manitas, who is adorned with facial tattoos and a cascade of hair, emanating a disquieting presence as they engage in a whispered conversation. Manitas delivers a staccato, tuneless rap, enticing Rita with the promise of “considerable sums of money” in exchange for her services. “I want to be a woman,” Manitas reveals softly, their golden-grilled smile revealing a vulnerable truth.
Despite the perilous circumstances, Rita agrees to assist Manitas, with little room to refuse such an imposing request. Thus begins her whirlwind journey across the globe in search of a discreet surgeon willing to perform the necessary procedures. One particularly surreal stop occurs in a circular-shaped clinic in Bangkok, where Rita finds herself amidst a vibrant scene of gowned, bandaged patients and a surgical team that breaks into song and dance. As Rita consults with the surgeon about options for Manitas, the doctor begins to sing-chant terms like “mammaplasty,” “vaginoplasty,” and “laryngoplasty,” creating a mesmerizing refrain that engulfs them all. The camera spins, capturing the exuberance of the moment, as Audiard channels his inner Busby Berkeley with a stunning overhead shot of the clinic.
The musical interludes throughout the film, composed by Clément Ducol and Camille, with choreography by Damien Jalet, range from intimate to grandiose, seamlessly woven into the narrative. These performances often serve as expressions of inner thoughts, such as an early scene where Rita rehearses her trial argument aloud in a grocery store. As she steps out into the glittering night of the city, she is met by a chorus of voices from the streets chanting “rising and falling.” This moment transforms her spoken words into song, her movements into stylized choreography, and the passers-by into an ensemble cast, blurring the lines between reality and performance.
Initially, this interplay between the tangible world of contemporary Mexico and the ethereal realm of the characters feels both jarring and delightful. The film hooks you with its abrupt shifts, taking you to unexpected tonal, narrative, and emotional places. However, while Audiard has successfully merged classic genres with modern sensibilities in previous works, even the personal and confessional musical numbers in this film seem to offer little more than novelty. The moment Rita passionately sings about the corruption of Mexican leaders at a banquet is invigorating, yet it highlights a world that the film otherwise treats as a fantastical backdrop, ultimately leaving one wishing for a deeper exploration of these themes.
