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“Emilia Perez” arrives laden with the controversy and disdain that have circulated in social networks and media, especially now that it seeks an Oscar representing France, thanks to the nationality of its production houses and its director, Jacques Audiard, a multi-award-winning filmmaker and screenwriter with a remarkable career (11 credits as director, 25 as screenwriter and 10 as both).
Although the film has merits, it cannot be considered worthy of the avalanche of awards and nominations it has received (13 Oscar nominations.
The thick American accent of Selena Gomez, who tries to play a Mexican “raised in the United States,” becomes an object of derision throughout the continent, as does the Caribbean-American accent of Zoe Saldaña, who tries to pass for a native Mexican.
In addition, the script features unrecognizable Spanish, which is not spoken anywhere in Latin America, creating a constant barrier between the viewer and the film.
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The situation is aggravated by the lyrics, which seem to be written in another language (French? English?) and translated in a forced way, resulting in phrases that do not fit the bars and lack rhyme or melody, far from the perfection and grace that can be found in “Wicked, Part 1”.
The film features a remarkable Gascón first as “Manitas,” a feared and bloodthirsty drug trafficker married to the attractive Jessi (Gómez), and then transforming into Emilia Pérez after a sex change surgery, thanks to the help of Rita (Zoe Saldaña), a lawyer from Mexico City who, out of necessity, becomes Manitas/Emilia's right-hand woman and helps him in his plans, which include disappearing from the map for a while.
When Emilia begins to miss her children, problems arise, as Rita must get Jessi to return to Mexico with Emilia's children, the former 'Manitas'.
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Audiard presents these events in a 'Mexico of the imagination', similar to what Ang Lee did, placing the plot of “Emilia Perez” in a space where the tangible mixes with the surreal, creating an anti-Hollywood musical where the expressive sense of the songs feels more like an anarchic catharsis than an enthusiastic enjoyment.
In this context, the poor accent of the actors causes that, for the Latin American viewer, the performances are perceived as farcical, impostured and mediocre. While the rest of the world may see acting prowess, we see disasters.
Just as from Latin America we do not perceive accents or inaccuracies in films spoken in Chinese, Indian or Russian, the rest of the world values “Emilia Perez” for its originality, the effortless singing and dancing performances (especially Saldaña's), its undeniable dramatic charge and the virtues of its cinematography and daring editing.
What is inexplicable is the freedom given to those screams that are presented as “singing” - especially the whimsical high notes in several songs - and to those aberrant lyrics that one wishes they would end soon so that the suffering would end.
In short: as a story, it's captivating; as a realization for a Latino market, it's a disaster.
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