'Emilia Pérez': Is It as Bad as They Say?

OSCARS 2025

Yes, it is.

Well, maybe not as much as some say, but to a great extent.

Jacques Audiard has always been a director unafraid of challenges, but with Emilia Pérez, he ventures into turbulent waters. A musical thriller with telenovela elements that, in theory, could have been something unique. The premise is powerful: a lawyer (Zoë Saldaña) is hired by a drug lord to help him transition and disappear from the map. Sounds bold, right? The problem is that instead of being a film with its own identity, it turns into a spectacle designed to sell to international audiences, sacrificing authenticity along the way.

From the very first minute, Emilia Pérez makes it clear who it wants to attract. It’s no coincidence that Zoë Saldaña and Selena Gomez are the main selling points. The latter... is a whole topic of discussion. Her performance is clumsy, her accent is disastrous, and frankly, her character deserved an actress who could do it justice. Karla Sofía Gascón is one of the film’s few redeeming elements—she gives it her all, trying to keep afloat a ship that is sinking fast.

Now, let’s talk about the most controversial aspect: Mexico’s representation. Audiard is French, and it shows. His version of Mexico feels like it was pulled from a catalog of clichés: drug trafficking, violence, telenovelas, and little more. At no point does it feel like an authentic exploration of the country or its culture. It’s as if he made a film about drug trafficking and trans identity without truly understanding either. And the scene where a child tells Emilia that she smells like his father... Seriously? Who thought that was a good idea?

Technically speaking, I have to admit that Audiard knows what he’s doing. The film looks good, has interesting cinematography, and the musical sequences are properly choreographed. But a nice package isn’t enough when the foundation is flawed.

Don’t get me wrong, Emilia Pérez is not a total disaster. It has moments that work and a powerful idea behind it. But it falls short, trapped between wanting to be a spectacular musical and telling a relevant story. Tackling delicate subjects requires more than just good intentions—it requires real knowledge and respect. And in this case, Audiard remains on the surface.

Bienvenida.

@LOVACAINE