Emilia Pérez

I wasn’t drawn to Emilia Pérez at all. You know I’m not really into musicals. But curiosity won, and I’m glad it did. Because beyond the singing, this is a brave story, told with care and carried by performances that really stay with you. Technically, it's flawless, with every detail polished, and the cast gives it their all. The only “but” is that once it starts, you more or less know where it’s going… and you're not wrong.

What surprised me the most wasn’t the plot or the style, but how it forces you to face yourself. You can’t watch it with prejudice or the usual filters. You have to let go, listen to the characters, understand what they’re going through, and accept what they’re telling you without feeling superior. Because if the film says anything clearly, it’s that this world needs less senseless hate and more willingness to understand.

Karla Sofía Gascón is incredible, and so is Zoe Saldaña, but what matters here isn’t singling anyone out—it’s how all of them together build a story unlike anything else. It makes you smile and then leaves a lump in your throat. It has absurd moments, yes, and delicate ones too. But that’s part of its magic: it never apologizes for what it is.

Emilia Pérez won’t be for everyone, and yes, it’s going to spark controversy. But maybe that’s also the point. It moved me, made me think, and stirred emotions. I don’t ask for more from a movie—just that it lingers for a while inside. And this one does.

Selena is an interesting actress

Great movie, if only a bit long. I loved the music, choreography and direction. I was reluctant to watch it because of the theme (narcos in Mexico) but the recent bad reviews convinced me to. I was entertained, shocked, interested and surprised all along.


Did I care that the cast's Spanish was not Mexican enough? Not any more than I did about Gladiator II's New York accents. Is it offensive to see a trans woman find peace with herself after transitioning? I can't see why. Can you sing and dance about crime? If you can in Westside story, Chicago, Bugsy Malone, Some like it hot, What's the problem here?

Much ado about a solid movie.

A fairly classic film despite its innovative characters and its musical comedy. We don't recognize any flashes of brilliance but how good it is! It is perhaps more important than good...

'Emilia Pérez' is a film that I feel like shouldn't work, yet I did actually have a positive two hours+ viewing it. The musical pieces do take some getting used to and I'm not entirely convinced by most of them, but again somehow it didn't overly bother me whilst watching.

There's no doubt, for me, that the greatest part of this is Zoe Saldaña. I've seen her in many roles before and I love her in those, especially 'Avatar' and even in a tiny 'Pirates of the Caribbean: The Curse of the Black Pearl' role, but I'd say this is her best performance from the 11 movies that I've seen from her. Outstanding!

I also enjoyed those behind Saldaña, namely Karla Sofía Gascón and Selena Gomez; I watched the latter in 2012's 'Spring Breakers' a few weeks back, her acting has improved impressively. I do think if the cast weren't as strong as they are, I may have liked this much less.

I'm only now seeing all the furore about this film, that Wikipedia article makes for quite the reading - what a mess! This is why I like switching off the noise, even if it does make me feel like that meme where that guy calmly eats his food while a brawl breaks out around him.

I certainly can see why "Emilia Pérez" is considered a strong Oscar contender. The genre mix of crime, drama, and, of course, musical alone makes for a consistently interesting film experience. Visually, it is also quite varied, and the very contemporary trans topic is certainly one that will be well received by the Academy.

In any case, it's the kind of musical movie I prefer, namely the kind where the songs drive the plot forward. Perhaps they are not particularly memorable and are unlikely to be effective outside the movie, especially as they are mostly spoken word songs. But they are well staged and fulfill their purpose here.

Meanwhile, the leading actresses Zoe Saldaña and Karla Sofía Gascón are quite convincing. And Selena Gomez is also pretty good. All three are able to carry the movie effortlessly and ensure that it never gets boring, even when the pacing isn't ideal. However, I have to add that I was more enthralled by the beginning of the movie than the end. I think that at some point it is relatively clear where the journey is going, and the movie takes much longer than it needs to actually take the steps that are hinted at.

Nevertheless, "Emilia Pérez" is a good movie that is compelling despite its fairly straightforward story. For me, it may not be one of the best overall works of the year, but given its individual strengths, I wouldn't mind if it received a few Oscar nominations.

Had fun with this.
I'm neither trans nor latino though, so I can't say much about the criticism coming from those groups.

“Emilia Pérez” is a challenge. An extravagant musical about a drug lord who decides to change his life after embracing his identity as a trans woman? It’s such a bold idea that it’s bound to divide opinions, but director Jacques Audiard doesn’t hold back on style or emotion. Despite its questionable choices, the film delivers a visual and narrative experience that, while not entirely convincing, is impossible to ignore.

Let’s start by saying the film doesn’t aim to be an authentic portrayal of Mexico. Shot in Parisian studios and led by a French director, “Emilia Pérez” creates a Mexico that’s more like a fever dream than a grounded reality. Audiard uses the setting as a backdrop, focusing more on the protagonist’s internal journey than on capturing the essence of Mexican culture. Still, he incorporates familiar elements, like tabloid headlines and protests against femicides, adding texture to the artificial landscape.

At the heart of the story is Karla Sofía Gascón, delivering an impressive dual performance as Manitas Del Monte, the ruthless drug lord, and Emilia Pérez, a woman seeking redemption. Gascón transitions between these extremes powerfully, humanizing both the criminal and her new identity. Her performance in the musical numbers is especially striking, conveying rare vulnerability, particularly when she sings about her transition and her longing to escape the brutality of her past. Alongside Gascón, Zoe Saldaña shines as Rita, the lawyer hired to facilitate Manitas’ transition. Saldaña masterfully balances the absurdity of the situations with a performance full of guilt and ambition. Selena Gomez also impresses as the protagonist’s scorned wife, delivering a raw, daring performance, though her character doesn’t get as much depth as it deserves.

The musical sequences, however, are what truly define “Emilia Pérez.” They range from sublime to outright bizarre, with over-the-top choreography and lyrics that don’t always land. At times, they feel forced, but there’s an infectious energy to them—a chaotic invitation to embrace the madness. Audiard and cinematographer Paul Guilhaume lean into saturated, hyper-stylized visuals, crafting an aesthetic that’s equal parts mesmerizing and exhausting. The balance between chaos and precision keeps viewers engaged, even when the narrative falters.

Emilia’s redemption arc is the heart of the film, but it comes with contradictions. In seeking to atone for her past crimes, she often resorts to the same violence she’s trying to leave behind. This duality raises compelling questions about power, identity, and guilt, though the script doesn’t always delve into them as deeply as it could. Nevertheless, it’s hard not to be moved by the protagonist’s emotional journey, largely thanks to Gascón’s performance.

On the downside, the film struggles with cultural authenticity. While the script includes colloquial expressions and familiar Latin elements, the actors’ accents and Audiard’s outsider perspective give away the lack of true connection to the culture. This can be frustrating for audiences seeking a more genuine representation of Mexico and its complexities. Ultimately, the film is more of a stylized fantasy than a realistic reflection of the social issues it touches on.

That said, “Emilia Pérez” doesn’t try to be a traditional social drama. It’s a narcotic opera, a blend of melodrama and extravagance designed to provoke intense reactions—whether admiration or discomfort. It’s a film that would rather take risks than stick to conventions, and that alone makes it worth noticing. Despite its flaws, its boldness and the sincerity at the core of its narrative are hard to ignore.

In the end, “Emilia Pérez” isn’t for everyone. It’s a film that challenges expectations and pushes the boundaries of what’s acceptable, but for those willing to go along for the ride, it offers a one-of-a-kind experience. It’s colorful, chaotic, and above all, human—even in its excess. A curious mix that, like an unusual recipe, may not suit all tastes but leaves a lasting impression.

Certainly worth a watch if only because it's a treat for the eyes, and its Mexico City scenes introduced me to a landscape that I was not familiar with. The plot has enough twists and turns to keep you guessing about what will happen next and while the music was not my personal taste, the choreography was excellent. On the other hand, I never really felt I got to know or care about the central characters. Plenty happened to and around them but we never stayed with them long enough to dig deep into their motivations and feelings. So a bit of a missed opportunity, but it would have made for a much longer movie. I would tune into Emilia Perez the miniseries (telenovella?) if they made that!

Like my penis: being different doesn't mean it's good... though it doesn't hurt. And it goes balls out but had no business being so long.

A trans Mexican drug lord musical is enough of a plotline to earn a 'like' from me. Still, they could've tried a little harder.