After causing a stir at fall film festivals, “Emilia Pérez” lands on Netflix, testing how mainstream audiences will respond to its unconventional filmmaking.
After causing a stir at fall film festivals, “Emilia Pérez” lands on Netflix , testing how mainstream audiences will respond to its unconventional filmmaking., an unconventional mixture of crime picture, soap opera, heartwarming fable, and song-and-dance showstopper. His ambition, however, outpaces his execution, as his extravaganza’s disparate styles clash more than they cohere, undermining a story that requires either greater realism or fantasticality.
For her courage, Rita is kidnapped and brought to a trailer that’s the home base of Juan “Manitas” Del Monte , the country’s reigning drug cartel kingpin. Juan’s proposition is this: for millions in an offshore account, Rita must facilitate his gender reassignment surgery and spirit his wife Jessi and young children to Switzerland, where they’ll be safe from his enemies after he fakes his death. Rita accepts and embarks on a search for a surgeon willing to transform Juan.
Audiard’s opening musical set piece in a Mexico City marketplace has a forceful dynamism marked by spiky choreography and fluid cinematography; throughout the film, his camera swoops, lunges, and glides in harmony with his protagonists. As early as Rita’s visit to a Bangkok clinic, though,’s songs prove flat and perfunctory, expressing the characters’ feelings via blunt lyrics and forgettable melodies.
Free of the terrible make-up she was forced to act through as Juan, Gascón shines radiantly as Emilia, who decides, due to an encounter with a grieving mother, to do something about the scourge of missing people that, in her prior life, she was instrumental in creating. This development is an extension of the film’s guiding idea that remaking the body is the first step to revolutionizing the country and the soul.
home run swings are responsible for its sentimental highs and its uneven lows, and there’s something to be said about an acclaimed artist holding nothing back by producing a sincere trans musical celebration of feminine agency—which doubles, ultimately, as a lament about the difficulty of true transformation. Admiring the effort, alas, doesn’t make the fragmentary finished product any more cohesive.
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