Emilia Perez
Introduction
One of the most fascinating aspect of Emilia Perez, France’s Official Submission to the Oscars of 2025 is its characterization. It is quite early on in the film that you are introduced to the character of Manitas, a dreaded gangster and a king-pin in the drug cartel. He is essentially an epitome of ‘manliness’, a term often used misappropriately even in terms of his occupation that is mostly assumed to be a ‘man’. Yet the dichotomy of the drama lies in his ambitions, of undergoing a sex change operation to transform into a woman, while discreetly wishing to lead a peaceful life. He is well aware of the obstacles that the society has to offer, including the sacrifices that he needs to make with respect to his family, and yet he is comfortable with the choice. Here, the character dynamics essentially act as a smaller conflict in the wake of the larger conflict that drives the narrative ahead.
Story & Screenplay
The premise of Emilia Perez is simple with its setting but complex with its intended emotions. Here, the character of Rita, an underappreciated lawyer who believes in getting criminals out of jail rather than bringing them to justice, is used as a catalyst and a focal point around which the drama unfolds. The writing here is rhythmic, with most of its rhythm coming to the fore with the inclusion of songs, each of which reflect the psyche of its characters (remember Joker 2?). Yet, there is an inherent and indulgent sense of humour that is sprinkled through its songs, even while presenting the conflict in a rather flamboyant manner. This, even as the emotions in the drama are kept intact while maintaining its subtlety through the narrative.
By the end of the first act, you are essentially introduced to the principal characters with the central conflict of a trans operation regarding a character reeking of a dichotomy of sorts. There is a genuine sense of complexity even as the underlying set of emotions often tread to the surface and allow you space to absorb them. This, even as the tone of the drama remains playful and flamboyant with its musical outlook that resembles an opera. You genuinely feel for the character of Manitas, even though that person is a guilty figure often being associated with a plethora of crimes in the city that he finds shelter in. This is perfectly in sync with the principles of Rita, a trait that helps her sympathize with Manitas. And while the actual event of faking Manitas’ death eventually transpires rather smoothly, the viewers are privy to the character dynamics which would only get more complex with time.
The drama takes a natural progressive leap that also signifies the maturity with respect to the characters amidst shifting character dynamics. The arc of Manitas is from negative to positive, so much so that you see Emilia (after the operation) team up with Rita (with whom she had a reunion) for an in-house social cause. But the negativity and positivity, both thrive equally in her life. The positivity associated with a character that she forms a bond with, and the negativity due to her equation with her oblivious ex-wife and children, whom she continues to be protective of whilst keeping them in the dark with respect to her current reality. This was an interesting conflict given the changed dynamics of Emilia’s (erstwhile Manitas) wife who is now seeing someone else. And the writing also offers a commentary on the crime-ridden politics of the land that eventually plays a major role with the conclusion of the tale, that is truly bittersweet. Credit also to the makers for holding on to the rhythmic tool in the narrative that makes for a brilliant screenplay, overall.
Dialogues, Music & Direction
The dialogues are cleverly interjected with the searing lyrics that compliment a powerful score, each of which makes for a solid impact. In fact, the songs are powerful and used effectively as a tool for communicating the internal turmoils of multiple characters with a dash of humour. Also, it is safe to say that much of the transition between scenes also features songs that are well placed in the narrative. The cinematography is simply brilliant, comprising of frames that are beautifully stationed, and add beautifully to the aesthetics of the drama. The editing is top notch, and the transition cuts are so seamlessly integrated in the narrative that often switches from one incident to another interjected by the musical themes in between. Director Jacques Audiard does a remarkable job in fully committing to the musical theme of the narrative while presenting the drama in the form of an opera. He expertly allows a range of emotions to kick in that helps you empathize with the protagonist, while fully allowing you to immerse in the narrative. The direction is brilliant here.
Performances
The performances are brilliant by the ensemble cast. Edgar Ramirez as Gustavo has his moments to shine particularly at the fag end of the drama, and he does a pretty solid job. Adriana Paz as Epifania is affable and delivers a heartfelt performance. Selena Gomez as Jessi is good although there are moments of stumble in scenes that really require her to go full throttle with her emotions. But she manages to hold her own for most parts of the narrative. Zoe Saldana as Rita is phenomenal here, using her tranquil body language to showcase a range of emotions, that is representative of her inner turmoil. But the performance of the film is delivered by Karla Sophia Gascon who is incredible in her two characters of Emilia and Manitas. She is meticulous with the use of emotions that allows the viewers longevity in terms of having feelings for her character. There is deftness in her body language that contributes to the nuance in her performance that really stands out brilliantly, and stays with you long after the film has ended.
Conclusion
As a part of our MAMI coverage, France’s Official Submission to the Oscars of 2025, Emilia Perez is an immersive and rhythmic tranquillity packaged in a genre-bending trans crime drama that makes for a brilliant watch. This drama is Highly Recommended from my end.