This year’s Oscar-nominated Emilia Pérez has certainly grabbed attention for its ambitious premise and bold storytelling. With 13 Oscar nominations and a slew of Golden Globe wins, it seemed poised to be one of the standout films of the season. However, after watching it, I’m left with more questions than admiration. What could have been a compelling exploration of gender identity and redemption instead feels like a missed opportunity, with the film’s execution falling short of its grand ambitions.
Directed by Jacques Audiard, Emilia Pérez tells the story of a notorious cartel boss, Emilia (Karla Sofía Gascón), who undergoes gender-affirming surgery in a bid to escape her violent past. While the premise sounds intriguing, the execution often feels rushed and shallow. The first 40 minutes of the film are a blur of rapid plot developments—Emilia fakes her death, undergoes surgery, and plans to reconnect with her family—but none of it feels earned or emotionally grounded. Instead of digging into the complexities of her character, the film rushes through plot points as though checking off boxes on a list of “important” topics, leaving little room for depth or nuance.
One of the biggest issues with Emilia Pérez is its treatment of gender identity. The film seems more interested in using Emilia’s transition as a plot device than in thoughtfully exploring her journey. Rather than a deeply personal story, her transition is presented as a quick fix to erase her violent past—almost as though it’s a way for the character to start fresh. The film seems to suggest that Emilia’s moral transformation is tied directly to her gender identity, which feels reductive and problematic. Some critics have called this a shallow portrayal of gender transition, and it’s hard to argue with that assessment. The film oversimplifies the complexities of identity and redemption, opting instead for a more sensationalist approach.
The film also struggles with its musical elements. While it’s billed as a musical, the songs and choreography feel out of place, often distracting from the main story. With the exception of Selena Gomez, who brings a bit of energy to her role, the cast’s vocal abilities are underwhelming. The songs themselves lack originality, often coming across as generic pop and hip-hop tunes that don’t seem to fit the tone of the movie. The musical numbers are neither memorable nor emotionally resonant, and instead of enhancing the film’s themes, they often feel like unnecessary distractions.
Culturally, the film also misses the mark. Although set in Mexico, much of the movie was shot on soundstages in Paris, and the lack of authenticity is apparent. The film attempts to depict a gritty, crime-ridden Mexico, but it feels more like a Hollywood interpretation of a place the filmmakers never fully engaged with. Mexican audiences have pointed out the film’s sensationalist portrayal of their country, and it’s easy to see why. The setting feels superficial, and the film’s reliance on stereotypes makes it hard to take seriously.
The performances, while not terrible, are hampered by a script that doesn’t give the actors much to work with. Gascón’s portrayal of Emilia shifts from cold and menacing to warm and loving, but the character never feels fully fleshed out. Zoe Saldaña and Selena Gomez, both talented actors, are given roles that lack real emotional depth, and it’s hard to connect with their storylines when the film is so focused on spectacle rather than character development.
Ultimately, Emilia Pérez is a film that tries to be many things at once but never quite succeeds at any of them. Its premise is bold, but the execution is messy and uneven. It tackles important topics like gender identity and redemption but does so in a way that feels shallow and, at times, offensive. The musical elements don’t add anything to the story, and the film’s portrayal of Mexico feels like little more than a hollow backdrop. While it may find some admirers for its flashy style and star power, Emilia Pérez ultimately leaves more to be desired.
