Film Review by Julian Liurette, Toronto, January 28, 2025*
I just re-watched Emilia Pérez, the latest film by French director and screenwriter Jacques Audiard, on Netflix—though I first saw it two months ago at the TIFF Lightbox in Toronto. Even then, I knew I had witnessed something unconventional: a musical about a notorious drug cartel leader who undergoes gender transition. The film is ambitious, daring, and deeply original, though not without its flaws.
Narratively, the ending feels too convenient and abrupt. Some argue that the transformation of Manitas (played by Karla Sofía Gascón) into Emilia is too idealized—turning from a ruthless cartel boss into a near-saintly figure without sufficient moral reckoning. Others say the portrayal of Mexico leans on stereotypes, with simplified dialogues that reportedly sound like Google Translate. The non-Mexican accents of the lead actresses also detract from its authenticity for some, while others criticize the portrayal of a trans woman character written by a cisgender male.
The film’s biggest criticism is that it seems to trivialize the real-life tragedy of Mexico’s disappeared due to cartel violence. Framing such a theme within a musical can come across as insensitive.
However, Emilia Pérez is more than the sum of these criticisms. One could just as easily argue that characters singing and dancing is unrealistic—but it’s a musical, a pure work of fiction. It tackles the genre with a distinct visual and narrative style. It’s an artistic work that explores themes like identity and redemption; it’s not trying to be realistic. In the end, the debates and controversies surrounding the film center on balancing artistic freedom with social responsibility.
Since it’s a musical, let me address the topic of music. The score, composed by Camille (who co-composed the beautiful music for The Little Prince in 2015 with Hans Zimmer and Richard Harvey) and her husband Clément Ducol, is magnificent. When Emilia falls in love, the accompanying song, El Amor, echoes I Have a Love from West Side Story by Leonard Bernstein, yet transcends it—both a tribute and a reinvention.
Narratively, there’s an ever-present tension, making each moment unpredictable, and yet the film balances that suspense with occasional humour—such as the scene where the maids try a skiing video game. Apart from a disappointing ending, you’re left guessing where the film will take you.
The cast delivers outstanding performances. Karla Sofía Gascón is mesmerizing, embodying both the menace of Manitas and the tenderness of Emilia beautifully. Her singing is unique—something rarely heard in cinema. Zoe Saldaña delivers a powerful, dynamic performance as Rita, in a role that makes her shine far more than in Avatar or Guardians of the Galaxy. And while Selena Gomez has faced criticism for her portrayal, she convincingly embodies the naive mistress of the cartel boss.
Visually, the cinematography by Paul Guilhaume is stunning, playing with light and shadow during the musical numbers. The use of text within the film, along with the sound design and editing, all contribute to the film’s technical success.
In the final sequence, the characters sing what might appear to be a typical Mexican song, but French viewers of a certain generation will recognize the melody as a Spanish translation of Les Passantes by Georges Brassens, the iconic French folk singer of the 1950s and ’60s. Such details add layers to the film, making it an artistic work that rewards deeper viewing.
For all these reasons, Emilia Pérez deserves more recognition than the emptiness of films that came out around the same time like Anora or the uninspired Nosferatu. Audiard has crafted something unique, and while imperfect, it remains a transcendent, one-of-a-kind cinematic experience. I give it 8.5/10.
PS: Did Audiard purposely choose the title Emilia Pérez because, when pronounced in English, it sounds like Emily in Paris? Is there an inside joke there, or just a coincidence? 🤓
*January 31, 2025 update: Since writing my review, additional controversy surrounding Emilia Pérez has emerged—beyond the initial criticisms of its portrayal of Mexican culture and trans identity. Past social media posts by lead actress Karla Sofía Gascón, as well as comments about the Spanish language made by the director, have also sparked backlash. While I still appreciate the film’s artistic merits, I acknowledge these concerns and encourage thoughtful engagement with the ongoing conversation.