Karla Sofía Gascón

Zoe Saldaña

Selena Gomez

Adriana Paz

Edgar Ramírez

Mark Ivanir

Eduardo Aladro

Emiliano Hasan

Gaël Murgia-Fur

Tirso Pietriga

Xiomara Ahumada Quito

Magali Brito

Jarib dit Javier Zagoya Montiel

Sébastien Fruit

Alejandra Reyes

Anabel Lopez

Daniel Velasco-Acosta

James Gerard

Braulio Gómez Bernal

Stéphane Ly-Cuong

Tulika Srivastava

Johanna Rebolledo Marin

Alejandra Díaz Ambrosi

Karla Lazo

Gabriela Ceceña

Lucile Chriqui

Sarah Gfeller

Luis Gabriel Gonzalez

Loïc Percheron Lazo

Rosario Zamora

Nathalia Saucedo

Monica Ortiz

Marysol Cordourier

Alonso Venegas-Flores

Ana Laura Fortuit

Jonas Paz-Benavides

Tiphanie Ham

Benjamin Díaz Espinoza

Holly-Rose Clegg

Kalvin Winson

Lou Justine Moua Nédellec

Michaël Charny

Mohammed Ali Ismail

Katie Valentine

Zelda Rittner

Eric Geynes

Silvia Herraiz

Ángel Romero

Eduardo Lubo

Manuel Sol Mateo

Théo Guarin

Lucas Varoclier

Agathe Bokja

Chun-Ting Lin

Line Phé

Paul Kai Te

The Rizzler

Jacques Audiard

Camille

Pierre-Marie Dru

Clément Ducol

Valérie Schermann

Pascal Caucheteux

Adrienne Romeuf

Cécile Deleu

Rodrigo Berlanga

Nicolas Doerler

Eugénie Deplus

Sébastien Chauvat

Marine Goujet

Quentin Chevreau

Céline Deniard

Sandra Castello

Romain Schandeler

Eurydice Tritsibidas

Maxime Boisbeaux

Benjamin Lavayssière

Gaston Grandin

Charlotte Audureau

Arturo García

Anne-Sophie Delaunay

Shanna Besson

Elliott Carrasco

Mathilde Bernet

Barnard Steele

Noé Muñoz

Brice Tholozan

Julie Trillo

Juliette Welfling

Anthony Vaccarello

Nicolás Celis

Roeg Sutherland

Vincent Maraval

Gary Farkas

Jeremy Levinson

David Taghioff

Julien Bachelier

Virgine Seffar

Francesca Motte

Shoreh Belfond

Vals Ortiz

Lucas Baily

Grégory Vincent

Marion Didier

Remy Duplaix

Estelle Darnault

Max Ortega

Noé Tonatiuh Muñoz García

Chloé Arramon

Lionel Cassan

Aurélien Henry

Ledys Salcedo Bustamante

Sacha Naceri

Antoine Swertvaegher

Emmanuel Janvier

Eve Repaux

Hortense Bailly

Aymeric Devoldère

Arthur Paux

Victor Eberlé

Rosalba Delfin

Paul Guilhaume

Carla Hool

Amedéo Cazzella

Jean-Baptiste Pouilloux

Damien Jalet

Laureen Arnou-Sanchez

Sara Gutiérrez Galve

Frédéric Lebugle

Julia Floch-Carbonel

Maria Carolina Santana Caraballo-Gramcko

Ortos Soyuz

Raphaëlle Dannus

Niels Barletta

Mikaël Gaudin

Aurèle Mazi Jacquesson

Juliette Picollot

Erwan Kerzanet

Martin Chanvillard

Simon Chanvillard

Romain Marietti

Eric Gandois

Lou Jullien

Alexandre Levand

Simon Livet

Mathilde Bory

Thomas Garreau

Thomas François

Raimundo Querido

Hugo Devèze

Cédric Fayolle

Julien Dara

Alice Bencteux

Julien Peyrache

Susan Putnam

Roxane Bruneton

Drama

Thriller

Emilia Pérez

Why Not Productions

Pathé

France 2 Cinéma

Page 114

Saint Laurent Productions

Saint Laurent

Library Pictures International

Logical Content Ventures

Les Films du Fleuve

The Veterans

Vixens

Casa Kafka Pictures

Pimienta Films

Belgium

France

United States of America

Mexico

Español

English

based on novel or book

musical

lawyer

drug lord

crime lord

questioning

based on opera

criminal organization

mexican cartel

transgender

self-redemption

admiring

amused

audacious

enchant

CinemaSerf

"Rita" (Zoe Saldana) is a lawyer in Mexico who finds her professionalism attracting the attention of the powerful drug lord "Manitas". He spends his time heavily guarded and constantly on the move as he pretty much controls the synthetic drug trade in and out of his country. What does he want with "Rita" though? Well tempted by a great deal of money, she makes the perilous trip to meet him and find out. Suffice to say she gets quite a shock when she discovers that he is determined to become a woman. "Rita" is now charged with the ultra-discrete task of finding a surgeon who can turn "Manitas" into "Emilia". Not only is this highly dangerous for the lawyer, but it's also no walk in the park for the gangster or his family who will need to be relocated and convinced that dad is no more. What now ensues tests the mettle of both characters, especially as the erstwhile father struggles rather more than he'd anticipated when it comes to losing his wife "Jessi" (Selena Gomez) and his two young children. Can he stay out of their lives for ever or might he succumb to that temptation and set the cat amongst the familial pigeons? The story is a bit too episodic and the characterisations superficial at times, which is a shame. That said, though, there is still a strong and emotionally powerful effort from Karla Sofía Gascón as the ruthlessly violent killer who undergoes more than a physical transformation over the four or five year period this drama covers. Saldana also holds this together well delivering an engaging performance as a character who has perhaps lost faith in what the system can do to make things better for ordinary people, so adopts a more "inside the tent of the enemy" approach. It's peppered with musical numbers. Some of those work better than others at introducing delicacy, love, lust and anger into the proceedings but let's be under no illusions that there are any great singers here. I found the denouement a bit rushed and frankly rather weak, but the whole film does shine rather a provocative light on attitudes to gender identification and just as importantly to corruption and the relatively minimal value placed on human life in country where someone almost always works for someone else. It's just a little over two hours, but once it gets into gear it doesn't hang around making for a decent watch tackling important topics that's worth a gander.

Brent Marchant

It generally takes tremendous courage to stand up and proclaim that the Emperor is indeed naked, especially in the face of a crowd of willfully blind onlookers who contend otherwise. Nevertheless, there are times when this truly needs to be said in light of an inexplicably misguided view to the contrary. And that’s certainly the case with the latest from often-overrated writer-director Jacques Audiard. This jumbled mess of a film can’t make up its mind if it wants to be an edgy musical (given its forgettable songs and original score), a quasi-campy comedy (despite its palpable lack of bona fide humor but with a narrative that’s admittedly frequently laughable), a crime thriller (one that feebly grows ever more pretentious, meandering, implausible and uncompelling with each passing frame) or a treatise on forgiveness and redemption that unapologetically drips with overwrought political correctness. In essence, this offering follows the exploits of Manitas (Karla Sofía Gascón), a Mexican drug cartel warlord who wants to undergo the transgender transition process to liberate the inner woman that has been inside him since birth, aided by a supposedly articulate and self-righteous lawyer (Zoe Saldaña) who hastily and seemingly thoughtlessly sells out with the promise of a financial windfall for her assistance. After undergoing the process, however, the newly emerged Emilia Pérez has regrets about her past, both in terms of her brutal “professional” behavior and the abandonment of her kids and shrewish, self-centered wife (a fine performance by Selena Gomez in one of the film’s few praiseworthy assets). However, this change of heart, while modestly understandable, generally lacks believability. And, given the utterly reprehensible nature and baffling, head-scratchingly contradictory choices of all the principals, it’s difficult to fathom how anyone would care a whit about any of them. That’s especially true for the picture’s lead, whose actions do little to generate any kind of meaningful empathy for transgender individuals and causes. And, through it all, the story is mystifyingly augmented with a slew of inconsistently timed, largely unremarkable musical production numbers that add precious little to the overall story (they could have been left out entirely and it would likely have made for a more compelling release). In sum, the finished product plays like a preposterously melodramatic Italian opera libretto mixed with elements from pictures like “Sicario” (2015) and any number of cheesy Mexican soap operas. How this cinematic morass has managed to garner as much attention as it has received is truly beyond me. That’s especially true with the many undeserved accolades it has received, including 10 Golden Globe Award nominations (a virtually unheard-of number for any film in this awards competition), as well as honors from the Critics Choice Awards, the American Film Institute, and numerous film festivals, including the prestigious events in Cannes and Toronto. Indeed, don’t be fooled into thinking that the blend of diverse elements here should be taken for inventive, inspired originality. But, more importantly, don’t waste your time on this celluloid trash, despite how allegedly elegant the Emperor’s outfits are said to be.

Is _Emilia Pérez_ the riskiest movie in years?

A Spanish-language musical from a French director, about gendered violence and corruption, starring a transgender actress as a Mexican cartel boss who abandons his family, vanishes into hiding and transitions to become a woman.

It's A LOT. And yes, the film has drawn some criticism. But it’s obvious that the soul of _Emilia Pérez_ beats with the daring of a curious artist who prizes emotional authenticity above all else.

Could you give up your own family to live as your true self? How much can a person change at their core? Does the 'wolf' remain a wolf? While director Jacques Audiard doesn’t claim to have the answers, what’s clear is the film's unquestionable passion. _Emilia Pérez_ is a pure force; designed to grab us by the hearts and minds and wow us.

Read our full take on _Emilia Pérez_ at good.film: https://good.film/guide/why-emilia-perez-is-the-riskiest-movie-youve-seen-in-years

How is it a white Irish-American can speak better Spanish than the Spanish speakers in this train wreck?

And.... a musical with "penis" and "vagina" as the lyrics as it pushes gender transitions?

What we have is an insult to Spanish speakers, an insult that pushes the Latinx concept that most Latino's reject, and then pushes the they/them that lost Kamala the race... so of course it has 13 Academy Award nominations.

But the nominations don't mean it's any good.  It's crap, it's a really bad movie and I feel horrible for the native Spanish speakers that this movie mocks and belittles.  

But of course it's going to get a boatload of nominations, it's woke AF.  So woke, it's another box office bomb.

'Emilia Pérez' is a film that I feel like shouldn't work, yet I did actually have a positive two hours+ viewing it. The musical pieces do take some getting used to and I'm not entirely convinced by most of them, but again somehow it didn't overly bother me whilst watching.

There's no doubt, for me, that the greatest part of this is Zoe Saldaña. I've seen her in many roles before and I love her in those, especially 'Avatar' and even in a tiny 'Pirates of the Caribbean: The Curse of the Black Pearl' role, but I'd say this is her best performance from the 11 movies that I've seen from her. Outstanding!

I also enjoyed those behind Saldaña, namely Karla Sofía Gascón and Selena Gomez; I watched the latter in 2012's 'Spring Breakers' a few weeks back, her acting has improved impressively. I do think if the cast weren't as strong as they are, I may have liked this much less.

I'm only now seeing all the furore about this film, that Wikipedia article makes for quite the reading - what a mess! This is why I like switching off the noise, even if it does make me feel like that meme where <a href="https://www.youtube.com/watch?v=LbzerIOUR8A" rel="nofollow">that guy calmly eats his food while a brawl breaks out around him</a>.

'Emilia Pérez' Best Supporting Actress Press Room Speech | 97th Oscars (2025)[Zoe Saldaña]

Emilia Pérez( 2024)

Passion has a new name.

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A review by CinemaSerf

Written by CinemaSerf on Wed Oct 16 2024

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