Karla Sofía Gascón

Zoe Saldaña

Selena Gomez

Adriana Paz

Edgar Ramírez

Mark Ivanir

Eduardo Aladro

Emiliano Hasan

Gaël Murgia-Fur

Tirso Pietriga

Xiomara Ahumada Quito

Magali Brito

Jarib dit Javier Zagoya Montiel

Sébastien Fruit

Alejandra Reyes

Anabel Lopez

Daniel Velasco-Acosta

James Gerard

Braulio Gómez Bernal

Stéphane Ly-Cuong

Tulika Srivastava

Johanna Rebolledo Marin

Alejandra Díaz Ambrosi

Karla Lazo

Gabriela Ceceña

Lucile Chriqui

Sarah Gfeller

Luis Gabriel Gonzalez

Loïc Percheron Lazo

Rosario Zamora

Nathalia Saucedo

Monica Ortiz

Marysol Cordourier

Alonso Venegas-Flores

Ana Laura Fortuit

Jonas Paz-Benavides

Tiphanie Ham

Benjamin Díaz Espinoza

Holly-Rose Clegg

Kalvin Winson

Lou Justine Moua Nédellec

Michaël Charny

Mohammed Ali Ismail

Katie Valentine

Zelda Rittner

Eric Geynes

Silvia Herraiz

Ángel Romero

Eduardo Lubo

Manuel Sol Mateo

Théo Guarin

Lucas Varoclier

Agathe Bokja

Chun-Ting Lin

Line Phé

Shuuko Calderón

Paul Kai Te

Jacques Audiard

Clément Ducol

Camille

Pierre-Marie Dru

Pascal Caucheteux

Valérie Schermann

Sandra Castello

Cécile Deleu

Eugénie Deplus

Rodrigo Berlanga

Arturo García

Sébastien Chauvat

Anne-Sophie Delaunay

Nicolas Doerler

Adrienne Romeuf

Romain Schandeler

Eurydice Tritsibidas

Shanna Besson

Maxime Boisbeaux

Elliott Carrasco

Quentin Chevreau

Céline Deniard

Marine Goujet

Gaston Grandin

Benjamin Lavayssière

Noé Muñoz

Barnard Steele

Brice Tholozan

Charlotte Audureau

Mathilde Bernet

Julie Trillo

Juliette Welfling

Anthony Vaccarello

Vincent Maraval

Roeg Sutherland

Gary Farkas

Nicolás Celis

Jeremy Levinson

David Taghioff

Julien Bachelier

Victor Eberlé

Lionel Cassan

Arthur Paux

Rosalba Delfin

Emmanuel Janvier

Virgine Seffar

Lucas Baily

Vals Ortiz

Marion Didier

Francesca Motte

Eve Repaux

Hortense Bailly

Aymeric Devoldère

Antoine Swertvaegher

Grégory Vincent

Estelle Darnault

Remy Duplaix

Aurélien Henry

Noé Tonatiuh Muñoz García

Sacha Naceri

Max Ortega

Chloé Arramon

Shoreh Belfond

Ledys Salcedo Bustamante

Ariane Daurat

Paul Guilhaume

Jean-Baptiste Pouilloux

Carla Hool

Amedéo Cazzella

Damien Jalet

Julia Floch-Carbonel

Maria Carolina Santana Caraballo-Gramcko

Ortos Soyuz

Sara Gutiérrez Galve

Laureen Arnou-Sanchez

Raphaëlle Dannus

Frédéric Lebugle

Niels Barletta

Roxane Bruneton

Simon Livet

Romain Marietti

Céline Vh

Julien Dara

Mikaël Gaudin

Juliette Picollot

Eric Gandois

Thomas François

Lou Jullien

Erwan Kerzanet

Cédric Fayolle

Yves Girard

Alexandre Levand

Raimundo Querido

Alice Bencteux

Arthur Benoist

Mathilde Bory

Michael Jean Bretones

Martin Chanvillard

Drama

Thriller

Emilia Pérez

Why Not Productions

Pathé

France 2 Cinéma

Page 114

Saint Laurent Productions

Saint Laurent

Library Pictures International

Logical Content Ventures

Les Films du Fleuve

The Veterans

Belgium

France

United States of America

Español

Français

English

based on novel or book

musical

drug lord

lgbt

crime lord

questioning

based on opera

criminal organization

mexican cartel

pathetic

transgender

self-redemption

crime drama

female lawyer

disrespectful

pretentious

CinemaSerf

"Rita" (Zoe Saldana) is a lawyer in Mexico who finds her professionalism attracting the attention of the powerful drug lord "Manitas". He spends his time heavily guarded and constantly on the move as he pretty much controls the synthetic drug trade in and out of his country. What does he want with "Rita" though? Well tempted by a great deal of money, she makes the perilous trip to meet him and find out. Suffice to say she gets quite a shock when she discovers that he is determined to become a woman. "Rita" is now charged with the ultra-discrete task of finding a surgeon who can turn "Manitas" into "Emilia". Not only is this highly dangerous for the lawyer, but it's also no walk in the park for the gangster or his family who will need to be relocated and convinced that dad is no more. What now ensues tests the mettle of both characters, especially as the erstwhile father struggles rather more than he'd anticipated when it comes to losing his wife "Jessi" (Selena Gomez) and his two young children. Can he stay out of their lives for ever or might he succumb to that temptation and set the cat amongst the familial pigeons? The story is a bit too episodic and the characterisations superficial at times, which is a shame. That said, though, there is still a strong and emotionally powerful effort from Karla Sofía Gascón as the ruthlessly violent killer who undergoes more than a physical transformation over the four or five year period this drama covers. Saldana also holds this together well delivering an engaging performance as a character who has perhaps lost faith in what the system can do to make things better for ordinary people, so adopts a more "inside the tent of the enemy" approach. It's peppered with musical numbers. Some of those work better than others at introducing delicacy, love, lust and anger into the proceedings but let's be under no illusions that there are any great singers here. I found the denouement a bit rushed and frankly rather weak, but the whole film does shine rather a provocative light on attitudes to gender identification and just as importantly to corruption and the relatively minimal value placed on human life in country where someone almost always works for someone else. It's just a little over two hours, but once it gets into gear it doesn't hang around making for a decent watch tackling important topics that's worth a gander.

Brent Marchant

It generally takes tremendous courage to stand up and proclaim that the Emperor is indeed naked, especially in the face of a crowd of willfully blind onlookers who contend otherwise. Nevertheless, there are times when this truly needs to be said in light of an inexplicably misguided view to the contrary. And that’s certainly the case with the latest from often-overrated writer-director Jacques Audiard. This jumbled mess of a film can’t make up its mind if it wants to be an edgy musical (given its forgettable songs and original score), a quasi-campy comedy (despite its palpable lack of bona fide humor but with a narrative that’s admittedly frequently laughable), a crime thriller (one that feebly grows ever more pretentious, meandering, implausible and uncompelling with each passing frame) or a treatise on forgiveness and redemption that unapologetically drips with overwrought political correctness. In essence, this offering follows the exploits of Manitas (Karla Sofía Gascón), a Mexican drug cartel warlord who wants to undergo the transgender transition process to liberate the inner woman that has been inside him since birth, aided by a supposedly articulate and self-righteous lawyer (Zoe Saldaña) who hastily and seemingly thoughtlessly sells out with the promise of a financial windfall for her assistance. After undergoing the process, however, the newly emerged Emilia Pérez has regrets about her past, both in terms of her brutal “professional” behavior and the abandonment of her kids and shrewish, self-centered wife (a fine performance by Selena Gomez in one of the film’s few praiseworthy assets). However, this change of heart, while modestly understandable, generally lacks believability. And, given the utterly reprehensible nature and baffling, head-scratchingly contradictory choices of all the principals, it’s difficult to fathom how anyone would care a whit about any of them. That’s especially true for the picture’s lead, whose actions do little to generate any kind of meaningful empathy for transgender individuals and causes. And, through it all, the story is mystifyingly augmented with a slew of inconsistently timed, largely unremarkable musical production numbers that add precious little to the overall story (they could have been left out entirely and it would likely have made for a more compelling release). In sum, the finished product plays like a preposterously melodramatic Italian opera libretto mixed with elements from pictures like “Sicario” (2015) and any number of cheesy Mexican soap operas. How this cinematic morass has managed to garner as much attention as it has received is truly beyond me. That’s especially true with the many undeserved accolades it has received, including 10 Golden Globe Award nominations (a virtually unheard-of number for any film in this awards competition), as well as honors from the Critics Choice Awards, the American Film Institute, and numerous film festivals, including the prestigious events in Cannes and Toronto. Indeed, don’t be fooled into thinking that the blend of diverse elements here should be taken for inventive, inspired originality. But, more importantly, don’t waste your time on this celluloid trash, despite how allegedly elegant the Emperor’s outfits are said to be.

Karla Sofía Gascón & Adriana Paz Break Down The Meeting Scene

Karla Sofía Gascón and Selena Gomez Bonded During EMILIA PÉREZ | TIFF 2024

Turning a Crime Story into a Musical

Selena Gomez & Edgar Ramírez Break Down “Mi Camino” Scene

Selena Gomez and Zoe Saldaña Discuss Their Roles in EMILIA PÉREZ

Jacques Audiard on Emilia Pérez

Selena Gomez & Karla Sofía Gascón's Characters Share A Tender Moment in Emilia Pérez [Subtitled]

Emilia Pérez( 2024)

Passion has a new name.

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A review by CinemaSerf

Written by CinemaSerf on Wed Oct 16 2024

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