45/44
Emilia Pérez follows four remarkable women in Mexico, each pursuing their own happiness
Cartel leader Emilia enlists Rita, an underrated lawyer, to help her fake her death so she can finally live authentically as her true self. Karla Sofia Gascón talks about the two years of preparation for this challenging role in Jacques Audiard’s film and the two extremes of her own personality that she had to play as Emilia and Manita. Jacques Audiard said he got the idea for the musical from a chapter in the novel about a drug dealer who yearns to change his identity.
El AlegoWritten by Camille (as C
The French title card misspells the Indian city as “Dehli”. Latino Slant: La Bamba Remake, Tarantino has a BIG Mouth, Jenna & Selena rocked it! (2024).
Dalmais), Clément Ducol and Jacques AudiardStarring Zoe Saldana
Emilia Pérez could have held her own in her genre-bending craziness, but this musical crime drama about the trance experience actually works, it’s a real heartbreaker. The transgressive narrative and musical numbers go hand in hand with an overall unpredictability that gives the film many of its biggest surprises. The crime drama aspects are played surprisingly straight, and the middle successfully turns into Mrs.
She carries you through the opening moments, and then Karla Sofia Gascón takes over, without Saldaña feeling left out
Doubtfire. Zoë Saldaña is fantastic in a performance where she eschews subtlety in favor of something bolder, and each musical number displays a skill never seen before. Gascón is amazing because her performance is so earnest as she embraces her new life while holding onto the best parts of her old life and grappling with some revelations from her ex-partner.
The musical numbers are excellent with real variety
Like some of his previous efforts, Jacques Audiard’s direction moves at a steady pace, taking the time to follow his characters’ lives wherever they go. They have a surreal element to them simply because of their lyrics, and each one works, whether it’s the characters basically just singing their dialogue or the larger choreographed numbers where Paul Guilhaume’s cinematography shines.