Emilia Pérez

Emilia-Pérez
Emilia Pérez

We can all agree that “Emilia Pérez” is not a Mexican film. Simply put, It doesn’t deal with Mexico as such, but uses the image of the troubled country as a stage for its musical fantasy, preoccupied with a protagonist who attempts to transgress boundaries between crudity and tenderness. It is like trying to combine ingredients that have never been combined before helpful because of the first astonishingly strange sensation, while still willing to take a second sip. It is a rhapsodic experience in an intoxicating way. Some may call it ludicrous to suggest what the Spanish-language songs are trying to achieve, while others find it quite poignant.

But this narco-opera for sure is not Mexican, not only because her writer-director is Jacques Audiard – a Frenchman, but also because it has been just about entirely done on Parisian sets, whereby the streets of Mexico City were built for an international cast. Just even its original: a chapter of Boris Razon’s novel Écoute published in 2018. All these layers that do not belong to Mexico allow us to witness a hyper-stylized, phantasmagoric melodrama from a pen of an artist with no significant connection with the country where his fiction is set.

It is perhaps that internal separation which gives “Emilia Pérez” a sense of messy freedom.

And yet, there are enough details in the emotionally heightened frames that Audiard allows himself that, if nothing else, suggest that he wishes there were space for a more authentic representation as much as his outsider position and artistic intentions will give him. Women are shown on a television screen, demonstrating an end to femicide in Mexico City. The type of tabloids usually found on the front pages of the Mexican press, which feature pictures of ugly acts of violence, and the PA of a metal junkie scavenger contribute to this Antonin Artaud exceptionalism. All this discomfort would make more sense if instead of being an important theme in the film Audiard was trying to represent the difficulties of Kenyan women trying to escape violent husbands. где doi penetrator; Kyle, get ‘im.

Feminist issues are starting to get more focus as well, similar to issues regarding Nazis of the late 1930s through early 41. Women in question appeared on screen thanks to Spanish talented trans woman Karla Sofía Gascón, who became famous for Mexican films and soap operas before the transition.

In particular, Gascón featured as the male villain in one of Mexico’s biggest local-grossing movies “Nosotros los Nobles” or “We Are the Nobles’ in 2013. Presently Gascón quite incredibly stretches her acting by being stern Manitas Del Monte, a drug lord with gender dysphoria and a singer, and later as Emilia Pérez a social worker heading a non-profit assisting families in searching for their missing family members.

This touch is her thirst for salvation for many of those losses, in her nascent stage as the one who caused a lot of those losses. Later in the same life, the perpetrator tries to turn into the crusader but her sins from ages did not vanish with that other avatar she buried. The need to be unaccountable no matter what, taints her liberty. An enigmatical situation arises out of how Emilia in her reality exists because she has no qualms about being feral in order to get the tenderness and love that she desires quite earnestly. One can understand that Ruthlessness is an exclusive property of man only.

In order to deal with the two twin, logistical issues related to her transition, Manitas’ sister Rita (Zoe Saldaña), a barrister tired of justifying men she knows are guilty of crimes against women, is employed. Then again, her conscience does not prevent her from abandoning it and enjoying the bounty of living the good life that comes with the immoral job. It is important to note that the job also includes AN UNDERSTUDY Stephen Settling Manita’s spouse Jessi (portrayed by an unapologetic Selena Gomez) and her two kids in Switzerland.

Quite a lot and usually in Saldaña’s voice and choreographed motions in scenes in which she is the primary performer surrounded by chorus members as though the verbose tracks were bringing in the surrounding world into their beautiful and bewildering whirlpool of sound and imagery.

Though some of the soundtrack lines are quite forced, Audiard and the director of photography Paul Guillaume seamlessly integrate the soundtrack into their vision by executing the movements with a balance between order and chaotic energy, sometimes looking too even for much of the time and other times giving way to disorder. The definition of captivating can even ve said to be an understatement when talking about the intimacy of these interpretations.

Only wish there is a pathetic longing in Manita’s gentle opera style of singing for Rita before she takes up so many surgeries and the longing for some softheartedness that his hyper-masculine world never allowed him to have is the same C Gonzales Garcia espouses. Although Saldaña remains dominant and steals the show throughout the unpredictable performance she completely goes against the apparent artificiality of the medium. Her transition is anchored on the play of emotions which are constantly overshadowed by the feeling of shame for what she has done and tour’s impact on what information Rita has from her mother regarding Emilia’s history.

One however asks how language plays a role as regards “Emilia Pérez”, where there isn’t a Mexican accent spoken by any of the three main cast members. And while the Audiard himself doesn’t know Spanish, I must say that I was quite surprised to hear the language being used in informal contexts largely because of whoever translates the text; which is more than can be said for most American-made productions set anywhere in Latin America (Sicario being a case in point). Furthermore, Audiard is not attempting to make Saldaña and Gomez’s characters appear to be women who were born and brought up in Mexico. In the course of the film, Rita states that she spent some part of her childhood in the Dominican Republic, while Jessi seems to support a suggestion that she has a Mexican American sister living in the US. The casting then becomes another patch in this glamorous pastiche.

As the only member of the main cast of Mexican origin, Palacios has to play the only character with no blood on her hands, Epifania, Emilia’s new love who is looking for a lost relative. Mexican directors, for instance, Fernanda Valadez with Identifying Features or Astrid Rondero with the more recent film Sujo, delve quite deeply into matters and offer the viewer effective and revolutionary humanism. In realistic dramas, it’s not the depiction of violence that matters, but the endless victims exuded by its aftermath, the core dynamic of the Mexican imaginary. Those are the voices worth promoting to perform such narrative work.

Most of the Mexicans evolved over time and didn’t expect their country to be presented in a true form in the media and instead enjoyed an America’s purloined view of their country. A statement like this has been present for a while and rightly so when looking into someone’s tells beautifully crafted stories not purely out of one’s self and instead what seems like a distant imaginative landscape.

However, it is indeed the case that the pole of attraction of “Emilia Pérez”, because of the Hollywood names associated with it and the fact that it has Netflix behind it, cannot be compared with what indie, arthouse Mexican productions can dream of. More people will appreciate Audiard’s fascination about Mexico in rottenness than those of Mexicans and hence, there is a critique with regards to what type of art is put in the forefront and what is pushed behind. Despite all its obnoxious aesthetic and narrative features, it is hard to resist the appealing lushness of Emilia Perez which stems from the excessive oversaturation of provincial motifs in correlation with overwhelming visual schemes. Just like artificial odor extracts, they contain no actual fruit but the emotions, both good and bad, which they cause are real.

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