One of the Most Poorly Written Movies of 2024: “Emilia Pérez” – Review
- Colton Gomez
- Jan 9
- 5 min read
Updated: Jan 17
Review
By Colton Gomez | 01/09/25 | 6:49 P.M. Mountain Time
Musical, Thriller | Rated R | 2 hr 10 min | "Emilia Pérez" Release Date: November 1, 2024
“Emilia Pérez” is a musical where none of the songs are catchy or memorable. It even seems to forget that it is a musical sometimes. There are large breaks where no one sings or dances until a number creeps up out of nowhere, feeling very unnatural. Much of the singing is talk-singing, so it’s not really singing at all. There are no showstoppers and nobody sounds good except for one scene where Selena Gomez sings karaoke. It’s almost trying to not be a musical and I’m curious why they even considered making it one. The style of a musical doesn’t seem to fit the subject matter.
Feeling underutilized and underappreciated, lawyer Rita Mora (Zoe Saldaña) accepts a sketchy offer from Mexican cartel leader Manitas (Karla Sofia Gascón) to find the resources and professionals to help her finish transitioning into a woman. Manitas leaves behind the life of the cartel and embraces her new life as Emilia Pérez (also Gascón). After years of separation, Emilia wants to reconnect with her wife, Jessi (Selena Gomez), and their kids. Rita helps Emilia run an organization of finding individuals who were reported missing, likely due to cartel activity. Jessi finds a new partner which threatens Emilia’s involvement in her children’s lives.
The film started and I heard this really cool sounding ethereal choir with interesting layers of harmony. It took its time as the camera slowly sank down to the street level in Mexico City. That’s where the good of this film ends. (Even the opening credits seemed to take much longer than usual.) That ethereal harmonic motif returns several times throughout the film and sounds cool each time. I can’t pinpoint the exact meaning behind its usage or when exactly its used, but it’s cool and I’m running out of positives.
The performances from the three main actresses, Saldaña, Gascón, and Gomez, are all serviceable. Nobody really shines as exemplary or as award-worthy as the festivals might make you think, but Saldaña certainly brings more depth in her performance than her costars.
I hate to make this comparison, but part of the premise feels very similar to “Mrs. Doubtfire.” Emilia wants to be closer to her kids, but won’t disclose the truth of her transition. One of her kids even says, “You smell like papa.” Others have also combined this comparison with “Sicario.” I think they are fair comparisons, just add the music and that’s kind of what this movie feels like. It’s kind of all over the map in tone.
It ranges from cartel thriller to domestic drama to character study to philanthropic romance drama to several others. It either doesn’t know what it wants to be or its aiming for a casserole. It’s hard to find anyone to root for (more on that below) partly due to how the film is structured and paced out. Knowing that this film is loosely based on a book, it seems that writer-director Jacques Audiard is inexperienced with adaptations or screenplays. There’s just too much going on that’s left underdeveloped. The entire story feels poorly ideated and executed.
I really don’t understand the Saldaña’s character, Rita. She sings this big opening number about justice and how she wants to be a better lawyer at a better firm. She then immediately answers an unknown number with a sketchy voice, calling to ask her if she’s interested in making “a lot of money.” She’s on board and meets drug lord Manitas. Where did her sense of justice go? We cut to four years later and it seems like she wanted this money to kickstart her own practice but Emilia tracks her down and rehires her without threatening her. Saldaña’s character later criticizes attendees and potential donors in an internal musical monologue for bringing their “dirty money” to a fundraiser for Emilia’s lost persons organization. There isn’t a note of growth in her character. She also doesn’t realize the irony. Why would this ambitious and top shelf lawyer want to abandon working in London for working for a former drug lord with “dirty money?” Her character seems to be very moved and inspired by Emilia but I just don’t see how. Their relationship is very confusing to me and the film fails to make a convincing argument.
The movie seems to forget that being a cartel leader involves hideous murders and trafficking of all kinds. That’s not something that’s easily forgotten. You don’t become a drug lord by accident. How am I supposed to root for this murderer who has “left it all behind?” That doesn’t erase the events of the past. Emilia tries to do some good later in the movie by founding an organization that finds missing persons and reports their findings to the next-of-kin, but these people went missing largely due to her own cartel activity. You don’t get bonus points for cleaning up your own mess. This makes rooting for her life away from the cartel very difficult. There hasn’t been a redemption arc and I haven’t forgiven her for her past crimes. So, what does it matter to me that her kids are going to live with their mother? You haven’t earned my sympathy.
Another character I struggle to sympathize with is Jessi, the former wife of the former drug lord. Gomez plays a fairly consistent tune of selfishness and entitlement. I know she’s a better actress, but this role didn’t do her any favors. We spend too much time with her character. Jessi doesn’t do anything to win us over or let us get to know her on a deeper level. She spends tons of money, doesn’t really care about her kids, and wants to hook up with her new boyfriend. Show me where I’m supposed to care. The film tries to paint her as a victim here, but nobody in this film is a victim. They have all made their choices.
Overall, “Emilia Pérez” fails to convince me of its story. I find the characters inconsistent and poorly conceived. I find the songs tedious and time-wasting. The pacing feels awkward. I don’t know what the filmmakers wanted me to come away with. I see only a story of gross characters and a poor attempt to get me to care for them.
Alternatively, watch “Will & Harper:” a documentary about Will Ferrell learning of his best friend coming out as trans woman Harper Steele. It has much more heart and respects your time.
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Review by Colton Gomez
Colton Gomez earned his BA in Film Studies from Weber State University. He owns and operates ColtonGomez.com. Here, he covers new releases in theaters and on streaming. For short versions of his reviews, check out his LetterBoxd
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