Emilia Pérez
Film
Filled to the brim with audacious, swing-for-the-fences musical numbers, Jacques Audiard's vivacious drama-musical Emilia Pérez is a spectacle like no other. When I say, "They don't make 'em like this anymore," what I really mean is, "I'm not sure they ever used to make 'em like this." Bold and brimming with ambition, the film bursts with creative energy, ultimately crescendoing into boisterous action steeped in romance. While much of it falters—unraveling at each twist or musical turn—Audiard's artistry and Zoe Saldaña's mountain-moving performance demand attention.
At its core, Emilia Pérez tells the story of Rita (Saldaña), a chronically overworked lawyer stuck in an unappreciative cycle. Her life takes an extraordinary turn when she’s approached by the powerful cartel boss Manitas Del Monte (Karla Sofía Gascón), who wishes to fake their death and transition into a fully authentic life as Emilia Pérez. With Rita’s help, Del Monte undergoes surgery and disappears, while their wife, Jessi (Selena Gomez), and children relocate to Switzerland, believing Del Monte has died. Four years later, Pérez resurfaces, seeking to reunite with her children in Mexico, setting off a cascade of emotional and logistical complications.
One of the film’s most intriguing but problematic aspects is its handling of trans identity. The story initially commits to separating Del Monte and Pérez as distinct personas, with Rita meticulously crafting a narrative to ensure Del Monte’s “death” is airtight. Yet, the central conceit unravels when Rita, who knew Del Monte for mere months, recognizes Pérez four years later—while Jessi, the person closest to Del Monte, cannot. This implausibility undermines the emotional stakes and raises questions about the film's exploration of transformation and authenticity.
This misstep bleeds into the romantic subplot involving Jessi and Gustavo (Édgar Ramirez), which feels underdeveloped and disconnected. Their interactions, though potentially rich with dramatic tension, lack depth and instead serve as filler. The narrative stagnates here, reducing the romantic entanglements to contrived drama that doesn’t advance the story or characters in meaningful ways.
Where Emilia Pérez excels is in Audiard’s bold directorial choices. The film brims with vibrant sequences, visually stunning and alive with kinetic energy. The musical numbers, in particular, showcase dynamic set pieces that experiment with genre—from gritty rock raves to tender ballads. These moments are dazzling on the surface but often fail to add depth to the narrative or characters. While three standouts manage to amplify the story, the rest feel more like distractions, their lyrics, and themes too shallow to carry the emotional weight the film demands.
Audiard’s ambition is undeniable, but the uneven execution leaves Emilia Pérez as a tonal patchwork. The film’s dramatic themes, romantic subplots, and musical interludes clash rather than harmonize, creating a product that feels both overstuffed and undercooked. Still, there are bright spots. Saldaña delivers a powerhouse performance, bringing grit and vulnerability to Rita’s character, even when the story doesn’t give her much to work with. Gascón also shines, navigating Del Monte’s journey with sincerity and nuance.
Ultimately, Emilia Pérez is a fascinating experiment—a film unafraid to take risks and push boundaries. Yet its creative ambition is often its own undoing, resulting in a cinematic experience that is as frustrating as it is unique.
Froth
I had high hopes for Emilia Pérez. I'm by no means a musical hater, so my transgressions against the musicality of the film aren't rooted in any prejudice, it's merely the fact that the songs really didn't work for me. Fortunately, Saldaña's fantastic (an understatement) performance kept me focused on the film and carried me to the end. For the films that brim with the hope of a wonderful experience, only to result in something else, I find it prudent to enjoy a beer that toes the line between varying experiences as well. That way, we can have some balance in unpredictability and enjoy the ebbs and flows, the twists and turns of both crafts. One of the newer breweries here in Seattle, Human People Beer, provides such a beverage in their Of the Moment Pilsner.
At first sniff, you'd imagine you're about to drink a classic West Coast IPA. Hoppy bitterness exudes off the head of the beer, delivered from the fresh hopped Citra, making it seem as though Of the Moment will be a higher ABV, more IPA-leaning brew. But its crisp, refreshing flavor, filled with delightful lager qualities, along with some citrus tones and a touch of lime, creates a light beer that's easy and immensely enjoyable to drink.
