Violence, corruption, cartels, kidnappings and drug runners. These are the negative stereotypes one thinks of when they think of the worst aspects of Mexico City. But for drug lord, Juan “Manitas” Del Monte (Karla Sofia Gascón) they are a way of life. Hell, he is the one responsible for it and profiting from it all. But it is time for a change of sorts.

Rita Mora Castro (Zoe Saldaña) is a brilliant yet unappreciated lawyer disillusioned with her career. After successfully defending yet another scumbag criminal, she is offered work from a new client, Manitas. Manitas has an odd request (well a demand) one which comes from having always felt like they were born into the wrong body. They want Rita to facilitate gender affirming surgery in secret so that they can begin a new life as a woman. With a huge payday in store, Rita throws her scruples to the wind and helps Manitas fake his death and find a doctor. Manitas is no more and so ‘Senora Emilia Perez‘ is born.

Four years later, Rita finally has the life and respect she always wanted, until Emilia comes back with another request, wishing to be reunited with Juan‘s wife Jessi (Selena Gomez) and children under the guise of being Manitas‘ wealthy cousin. While this farce works at first, it isn’t long before the past catches up to Emilia as they attempt to turn over a new leaf and right the wrongs of Mexico. But remember, Manitas was a violent drug lord after all…

One of the most lauded and awarded films of 2024 finally sees its Australian release in 2025. The second most nominated film in Golden Globe history went home with 4 wins including Best Motion Picture – Musical or Comedy and a Best Supporting Actress award for Saldaña. However, visionary filmmaker Jacques Audiard‘s genre bending story of redemption and crime has proven to be not without controversy at the same time.

Emilia Perez is a story with a lot of heart, a lot to say and honestly a lot of moralising. This has been called into question with a French filmmaker and a cast of foreigners telling a story with themes and subjects so important to Mexican people. Lack of local talent and Audiard’s admitted lack of research into context has been criticised. The Spanish dialogue which to an outsider simply reading subtitles might seem acceptable, may also seem off to those who can speak it fluently.

But looking past that, I can appreciate Audiard‘s originality and refusal to tell this story in any sort of conventional way. Often even if something doesn’t work, it’s still admirable for a filmmaker to take a chance. While praise has been heaped on Emilia Perez, I still believe that there’s many ways the film just doesn’t quite come together.

It seems ironic that a film entirely about finding your true self can be so lost in grasping an identity of its own. Is this a pop musical? A violent crime thriller? A family drama? A story of redemption or of being unable to truly change who you are deep down? It’s a little bit of everything, and so none of it really feels like it takes centre stage. 

The story of a violent drug lord trying to literally become a completely different person is a fascinating one. Gascón switches between the two personas impressively yet is never given a chance to play it as anything more than a bipolar transperson. Saldaña as well earns the acclaim which has come her way but ‘Rita‘ becomes lost amongst endless twists. The sanctimoniousness of her character looking down on the corruption of the elite as she wilfully takes money to whitewash and reinvent a drug kingpin feels unexplored.

This is all despite Emilia Perez‘ lengthy runtime and much of it is due to the film failing as a musical. Giving ‘Joker Folie à deux‘ a run for its money, Emilia Perez just seems to want to be a musical without figuring out how to make it work. While some musical scenes feature stunning choreography from Damien Jalet, others just have the cast reciting run on dialogue that’s set to a beat. Every time this occurs; it detracts from the film rather than enhancing it.

Imagine having a normal conversation which changes into a strangely structured and forced song and dance before suddenly going back to regular speech patterns. Sounds incredibly obnoxious and irritating, right? Well congratulations, you’ve grasped Jacques Audiard‘s approach to the musical genre!

Emilia Perez is considered by some to be one of the greatest films of the year. However, I found it to be an incredibly unlikable and grating experience. A hodgepodge of ideas rolled up into a mess of film genres and styles, one which is bold and not afraid to take chances, but not one which is successfully executed in any meaningful way.

Emilia Perez is in cinemas from January 16th.