Some films defy genre; others attempt to reinvent them. Emilia Pérez, Jacques Audiard’s latest endeavor, doesn’t just blend crime and musical—it throws them into a blender and cranks it up to high speed. The result? A film that’s as visually hypnotic as it is narratively uneven, an ambitious work that walks a tightrope between dazzling artistry and a lack of structural cohesion. One might wonder: Was Audiard too taken by the idea and in a rush to deliver? Because while the film starts strong, it wobbles, stumbles, and eventually lands somewhere respectable but not groundbreaking.
At its core, Emilia Pérez tells the story of a feared crime lord who undergoes a gender transition, navigating both personal rebirth and past demons. It’s an enticing premise—ripe with introspection and dramatic weight—but its execution stumbles under the weight of its own ambition. The film unfolds in three distinct acts: the first grips with a tightly woven crime-thriller urgency, the second sways into surreal theatricality, and the third lingers in emotional introspection. However, the second act proves to be the weakest link.
Rather than building a believable journey from ruthless drug lord to human rights defender, the transformation happens almost instantly. It acknowledges struggles but doesn’t delve into their impact. This lack of emotional weight weakens the protagonist’s arc, making it feel more like a stylistic choice than a deeply personal journey. The film rushes to its outcome without showing the gradual process, making the transition feel unearned. This abrupt shift harms credibility; either you don’t believe it, or you feel unsatisfied because you never saw how it happened. Strangely, by the third act, the film reconnects with its crime-thriller roots, almost as if the second act was unnecessary.
Further complicating matters, the film has been dealt with as an ambassador for topics like gender identity, immigration, and crime violence. But was that truly its intention? Not necessarily. The movie simply tells a crime story set within these worlds. However, the way it has been positioned, especially following its shocking 13 Oscar nominations, has skewed public perception. Emilia Pérez wasn’t designed to be a manifesto, yet it has been treated as one, which has unfairly hurt its reception.
While the stylistic confidence is impressive, it doesn’t always serve the story. Some sequences feel indulgent—beautiful to look at but narratively redundant. The film’s editing and cinematography, though competent, don’t break new ground. There are no glaring mistakes, but there’s also nothing revolutionary.
Selena Gomez was a revelation. Having previously not been a fan of her acting, I was fascinated by her performance here. She brought depth and nuance, and it’s a shame that her work was overlooked for major award nominations. If anything, this film has set the stage for her future roles, leaving many eager to see her next performance.
On the other hand, Zoe Saldana’s role felt underwhelming, not because of her talent but because the script didn’t give her enough material to showcase her full range.
It’s easy to forget that Emilia Pérez is a musical. The fact that it manages to weave crime-thriller elements into a musical format is an achievement in itself. However, while some of the songs work well within the film, they don’t leave a lasting impression. Two tracks stood out to me, particularly El Mal, but overall, the soundtrack lacks the kind of memorable hooks that define great musicals. Instead of elevating the narrative, the songs often feel like stylish interludes rather than integral emotional climaxes.
Audiard’s dialogue remains intelligent, with moments of poetic beauty. The exchanges between characters sometimes crackle with energy, especially in the film’s first half. However, as the story leans deeper into its thematic explorations, the dialogue occasionally becomes self-indulgent. Some lines land with impact, others bend without clear direction.
Emilia Pérez takes risks that deserve admiration, even when they don’t always succeed. It was never meant to be an ambassador for social issues, yet that’s how it has been received. And while it’s entertaining, it doesn’t offer the kind of gripping cinematic experience that lingers beyond its runtime.
Was Emilia Pérez too ambitious for its own good? Or did Audiard fall in love with his concept so much that he forgot to refine the structure? While the film is different, it’s not a revelation. It’s not a masterpiece of crime or drama. It’s an interesting cinematic experiment that never quite reaches its full potential.
Would I recommend it? For entertainment, sure. The film offers some great musical moments, impressive choreography, and standout performances—especially from Selena Gomez. But for those expecting a groundbreaking crime film or an emotionally immersive journey, it may fall short.
Rating: ★★★★★★☆☆☆☆ (6/10)