A Change for the Better: “Emilia Pérez”

A friend with a stronginterest in movies has chosen not to see Emilia Pérez.  He said he just couldn’t get excitedabout a film that focused on a Mexican crime lord’s sexual transition from maleto female. The fact that it is a musical made it seem, to him, even odder. AndI admit I had something of the same feelings. I’m a bit overwhelmed, right now,regarding movies (and other art forms) that focus intensely on genderdysphoria.

 But then Emilia Pérez showedup on Netflix, which meant I could watch it for free. And I was certainlycurious (though not yellow) to see why this film set the Cannes Film Festivalabuzz, and won a Best Actress prize to be divided among its featured femaleensemble. The actresses included Latin American stars Zoe Saldaña and SelenaGomez, along with Karla Sofía Gascón, a Spanish performer who transitioned from male tofemale in 2018. Gascón has been mentioned as a possible Oscar nominee, and Ican see why. In the film’s early going, she is featured as a gruff,tremendously fearsome cartel boss who is not in the least feminine. As Juan"Manitas" Del Monte  shesummons a talented but underappreciated female attorney (Saldaña) andforcefully explains her desire to leave her current life—whatever the cost—andbecome a woman. There follow several rather goofy musical segments in whichSaldaña travels the world, looking for doctors who are both discreet and adeptat sexual reassignment surgeries. For the right price, it’s amazing how manyservices are available. An add-on procedure to remove the “Adam’s apple”? Sure.

 I enjoyed all of the above,but couldn’t see why French writer- director Jacques Audiardwas racking up major honors for this film. But once Manitas becomes Emilia, thefilm radically changes its tone. Whereas Manitas was imperious and cold, Emiliais warmth personified. In her new and quite attractive body, she’s positivelyglowing. But she’s no longer just interested in self-satisfaction. Now, with Saldaña’sRita as her lieutenant, she’s started a major charity to help mistreated women.(Rita’s mixed emotions are striking. When Emilia suckers a large group of druglords into showing up at a banquet to support her group, Rita acts out hercontempt for these potential benefactors in a remarkable fantasy number thatshows off her stunning dance moves.) 

 The film’s musical numbershave the virtue of reminding us that this story is built on fantasy. But thefantasy co-exists with some tender moments that are deeply felt, like Emilia’sgrowing longing to be with the young children she once sired, and her littleson’s hunch that his newly arrived “aunt” is somehow closer to his absentfather than she might seem. Love is in the air in all its iterations: Emiliaforms a romantic bond with a needy young wife who’s glad to be rid of herabusive husband. Meanwhile, Selena Gomez’s Jessi, believing herself the widowof the absent Manitas, falls for the slimy Gustavo and helps hatch a desperateplan that will dominate the film’s last section. Alas, surprises await. 

 What’s this movie saying? Thatwomen are better (if not necessarily stronger) than men? That seems much toosimplistic a conclusion. And Gomez’s Jessi, for all her moments ofself-reproach, is hardly saintly. Let’s just say Emilia Pérez is aboutthe value of being true to your authentic self. Manitas was once hated andfeared. But Emilia, at film’s end, is recognized as a hero, even a saint. As awoman, she brings her community together, instead of tearing it apart.