Female Trifecta Blaze in Cartel Musical Emilia Pérez

From the opening moment musically interpreting a lawyer prepping her courtroom closing statement, you know this film is about to take audiences on a unexpected  ride into a world full of crime, intrigue, longing, acceptance and unconditional love.

Emilia Pérez apprises the story of a Mexican lawyer (Zoe Saldaña) who’s  offered an unusual job assisting  a notorious cartel boss (Karla Sophia Gascón) retire and transition into living as a woman, fulfilling a long-held desire. Yet, the film also addresses how three entirely different women proceed in taking control of their lives and autonomy in world built for and run by men with power by changing the narrative flipping the script to their advantage. Written and directed by Jacques Audiard, the screenplay is based on Audiard’s opera libretto of the same name, which was loosely adapted from Boris Razon’s 2018 novel, Écoute.

In the opening sequence when the camera zooms in on Rita’s cheap shoes and has her singing, “…when will I not be Black” in response to being asked when will you open your own firm  from the cleaning crew, it is a statement that women in all lanes of color can relate to.

The lyrics are beautifully poignant particularly during moments where Manitas (also portrayed by Gascón) proclaims, “…to listen is to accept.  I don’t lack money, killing or lust, but I lack desire.  My only desire is to be free.”   In addition, the musical numbers are intensely choreographed to precision to the compositions of Camille and Clément Ducol and captured exquisitely from cinematographer Paul Guilhaume.

The terrific trifecta performances have already garnered film festival accolades with many more acknowledgments to come. Known mostly to Mexican audiences, Gascón attacks her duo roles with unapologetic gusto layered with glimpses of humor and sexual tension. Her vulnerability to lay it all out on the line is admirable and fascinating to behold.

Saldaña gives Rita humanity and growth as a legal eagle who puts her community above all else with a little help from Emilia by becoming a crusader for those nameless victims of violence dumped in shallow graves leaving families grasping onto hope for their return.  Of course this comes at a price.  Rita must sell her soul for a bit of cash, but convinces herself that she is doing all of it for the greater good.  For the of the community and for the good of her Emilia who she believes that in changing her body changes society and society changes the soul. Her dancing seques are intricately complex, but she executes every step with emotional precision coupled with vocals that will make your heart bleed.

Selena Gomez as Jessi is like a violent tornado waiting to unleash upon anyone and anything at just the right moment providing a star turn like no other.  Particularly in a heartbreakingly intimate scene with Gascon where Jessi makes a horrible attempt to recover what she believes has been stolen from her only to have an unexpected discovery blow her mind and her soul.

Adriana Paz (Epifania) and Gascón have a chemistry and ease that envelopes audiences and keeps them invested with how this relationship evolves.  Paz bring a layered performance dripping with coquettish sexuality.

One would never think of taking the story of a cartel boss longing for a sex change as a musical tour de force, and yet, Audiard has not only found a way to  accomplish that, but give audiences a cinematic thrill ride with authenticity to a culture often not embraced or celebrated in Hollywood.