Emilia Pérez: Selena Gomez’s Netflix movie is a musical about a trans drug lord. It … rips?
SlateFrom the first frames of Emilia Pérez, writer-director Jacques Audiard makes it clear this is going to be a musical. The story, part crime caper, part domestic melodrama, part meditation on the mystery of selfhood, will involve suspense, disguised identity, the search for redemption, tragic hubris—a full complement of themes from genres as divergent as film noir and the kind of three-hankie weepies once known as “women’s movies.” Though Emilia Pérez is not a movie intended only for female audiences, it’s one that reflects deeply on the embodied experience of being a woman, a condition that some characters endure as a form of imprisonment—one unhappily kept wife sings of her life in the proverbial “golden cage”—while others look to womanhood as a potential site for personal and societal reinvention. Rita also travels to Bangkok and Tel Aviv to consult with the world’s most elite gender-transition specialists—the occasion for a whirlwind musical montage to a song unforgettably titled “La Vaginoplastia.” Act One ends with Manitas’ transition and the emergence of Emilia, whose self-naming we witness as she prepares to leave her hospital room and rejoin the world. Selena Gomez gets only one big solo song, but the script gives her plenty of opportunities to make what could have been a stereotypical gangster’s moll into someone far trickier and more complex. Emilia Pérez received a mixed response at its Cannes debut early this year, with some critics swooning while others pointed out that the film’s wild mishmash of styles and moods never quite adds up to a coherent character portrait.