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Emilia Pérez
Review by Rich Cline | MUST SEE | |||||
dir-scr Jacques Audiard prd Jacques Audiard, Pascal Caucheteux, Valerie Schermann, Anthony Vaccarello with Zoe Saldana, Karla Sofia Gascon, Selena Gomez, Adriana Paz, Edgar Ramirez, Mark Ivanir, James Gerard, Eduardo Aladro, Emiliano Hasan, Daniel Velasco-Acosta, Yohan Levy, Paul Kai Te release Fr 21.Aug.24, UK 25.Oct.24, US 1.Nov.24 24/France 2h10 CANNES FILM FEST TORONTO FILM FEST Is it streaming? |
While the plot of this Mexican musical epic tips over the top in various directions, the film's bold approach, vivid characters and pointed themes are utterly riveting. And it's also infused with the intensely emotive music of Clement Ducol and Camille, bringing out underlying feelings that continually catch us off guard. Writer-director Jacques Audiard is particularly gifted at telling rough-edged tales that tap into provocative ideas about humanity. In Mexico City, lawyer Rita (Saldana) wonders if there's any justice left in the world, as she helps murderers go free while her male boss (Aladro) takes the credit. Then notorious cartel boss Manitas (Gascon) offers a brain-bending proposition: help him disappear so he can transition into a woman. Four years later, Manitas returns as Emilia, posing as Manitas' long-lost sister. But Emilia can't reveal herself to her "widow" Jessi (Gomez) and their two children. So she throws herself into personal redemption, starting a charity with Rita to help victims of cartel violence find closure. Bristling with passion and energy, the story is told through Rita's eyes as an odyssey into human nature. Emilia's proposal allows Rita to step outside of a corrupt system, even if this makes her transgressive herself. This perspective is sometimes frustrating, as it's Emilia's journey that carries the film's most potent emotive kick. This is partly because Rita doesn't seem to connect with anyone other than Emilia, although that bond is unusually vivid. Saldana channels power into the role, conveying Rita's internalised rage and intelligence through both conversations and show-stopping musical numbers. She puts the audience right into Rita's shoes, pondering possibilities as circumstances and feelings shift over the years. Gomez gives Jessi a fiery internal energy with big emotional undercurrents, and Paz shines as a woman who connects with Emilia later on. But this is Gascon's show, and she is hugely magnetic as both Manitas and Emilia, radiating charisma along with profoundly moving thoughts and feelings. As the plot begins to veer into fable territory, things begin to get rather pointed, but this is a bracing cry for justice in a nation that has been in the grip of dishonest businessmen and politicians for far too long. The female-led approach elevates this central theme into something urgent and powerfully involving, especially as the story explores the experiences of women who have lost husbands and children in this violent invisible war. As usual, Audiard's bold filmmaking is thrillingly provocative and jarring, forcing us to see a tough situation in all-new ways.
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© 2024 by Rich Cline, Shadows on the Wall | |||||
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