“Emilia Pérez” begins with a choral overture; a prologue characterized by electronic, almost Imogen Heap-style vocals. The screen is dark, and the camera quickly moves in on a band as they play along with the robotic tones, the brims of their hats bedazzled with the sort of lights you might also see adorning the cowboy hats of a bachelorette party in Nashville.
It all feels very glittery, very melodramatic, very camp – extravagant in the way the premise of “Emilia Pérez” deserves. Written and directed by French filmmaker Jacques Audiard (based on Audiard’s opera libretto of the same name), the musical film follows a Mexican cartel leader who enlists the help of a disillusioned lawyer to help fake her death and escape Mexico to finally live out her dream of transitioning to a woman.
Unfortunately, the film never lives up to the thrill or complexity that premise might imply. The hint of excitement the beginning promises fizzles out almost immediately.
Read Sammie’s full review on Rough Draft
