Zoe Saldana Tries To Save Crime Musical, But Nothing is Salvagble - Emilia Perez Review

What Are The Academy Seeing That We Aren't With Emilia Perez?

Many films from 2024 and the early releases of 2025 sparked divided opinions among film enthusiasts and communities. While some opinions were widely shared – such as collectively praising certain films or ridiculing others – no movie has been more polarising in recent weeks than Jacques Audiard’s Emilia Perez. Starring Zoe Saldana, Karla Sofía Gascón, and Selena Gomez, the film has become a hot topic. After dominating headlines and earning accolades in retrospective categories – including Karla Sofía Gascón winning Best Actress at Cannes – Emilia Perez continued its winning streak at the Golden Globes, taking home awards for Best Leading Actress (Zoe Saldana), Best Musical, and Best Original Song. These achievements catapulted the film into the spotlight, particularly as glowing reviews poured in from film festivals across the globe.

However, despite the positive reviews, the film faced significant criticism, particularly from Mexican and LGBTQIA+ communities. Many condemned the film for its cultural misrepresentation, reliance on stereotypes, poor Spanish dialogue, weak lyrics, and Selena Gomez’s performance. Additionally, some LGBTQ advocacy groups criticised its portrayal of gender transition, calling attention to the film’s handling of sensitive themes. So of course, finally, it felt like the right time to watch this movie and form my own opinion, and…this movie was a massive let down and I do not understand the hype around Emilia Perez at all.

Image: Empire Magazine

For a quick summary of the plot, Rita, a Mexican lawyer (Zoe Saldana), takes on an unusual job assisting a notorious cartel boss (Karla Sofía Gascón) in going into hiding by any means necessary to help him transition into living as a woman, fulfilling a long-held dream – but not without unforeseen consequences. On the surface, Emilia Perez seems like a story designed to captivate audiences with its original concept and the performances of its stellar cast. And even while watching, it’s hard to tear your eyes away from the screen. However, the problem lies in the execution. Despite its gripping premise, the film is extremely messy and disjointed. We’re never given enough time to delve into the characters or their individual storylines. When the spotlight does fall on these subplots, they’re quickly pushed aside to return to the main narrative – one that takes several conflicting turns throughout the runtime. The result is a film that feels chaotic and unfocused, ultimately coming across as a calamity from start to finish.

One aspect of this movie that truly deserves praise is the performances by Zoe Saldana and Karla Sofía Gascón, who both manage to shine despite the incredibly weak script. Zoe Saldana is a revelation as Rita, delivering raw human emotion and vulnerability while portraying a character completely out of her depth in helping her client transition. Within the musical aspects of her role, she brings fluid, expressive movements and a sense of authenticity. However, the lacklustre songs fail to elevate her performance to its full potential, in my opinion. Karla Sofía Gascón is equally brilliant as Manitas, who later becomes Emilia. Playing a role so closely tied to personal experiences comes with a significant responsibility to respect and honour both sides of the character. Gascón rises to the challenge, doing her utmost to breathe life into the material she’s been given and delivering a heartfelt and nuanced performance.

Image: The New York Times

It’s difficult to ignore the many flaws in this movie, which struggles with issues right from the start. While Selena Gomez’s performance as Jessi has received praise for its raw emotional depth, two major shortcomings stand out: her Spanish accent and the inconsistent development of her character. Jessi is introduced as Manitas’ wife, unaware of his transition and believing he has died. As the story progresses, however, she abruptly shifts into the role of the villain. The third act relies heavily on her impulsive and poorly explained decisions, making her arc feel rushed and underdeveloped. Selena’s Spanish accent has also sparked widespread criticism, with some calling it one of the weakest in recent memory. Even members of the Spanish-speaking community have pointed out its inauthenticity, which detracts from an otherwise emotional performance.

Now, we come to the two major elements of this movie that completely ruined my viewing experience. First, let’s talk about the musical aspect, which I found nearly impossible to enjoy. With the exception of El Mal – and that’s largely due to the filming style used during that number – the songs are a complete letdown. The lyricism is truly dreadful, making every musical sequence feel like a chore to sit through while struggling to understand what the characters are even singing about. One of the worst offenders is a song titled La Vaginoplastia – yes, that’s the actual name. This particular number highlights several issues, not least of which is its painfully uncreative lyrics. Worse still, the song’s attempt to address the process of undergoing transitional surgery falls completely flat. Instead of offering a meaningful explanation, it glosses over the subject entirely, focusing instead on a lacklustre performance that fails on every level.

Image: The New York Times

Another significant issue with the film is its misrepresentation of Mexican and Spanish culture, particularly through the use of accents. Director Jacques Audiard has faced widespread criticism for his approach, with many pointing out the glaring cultural inaccuracies. The French director has openly admitted to not filming any part of the movie in Mexico, not speaking Spanish, and not casting any Mexican-born actresses in the three main roles. Mexican actor Mauricio Morales voiced his frustration on X, stating, “When Mexicans tell you that a movie… is portraying a Mexico full of stereotypes, ignorance, lack of respect, and is profiting from one of the most serious humanitarian crises in the world – maybe… just maybe, believe Mexicans.” Another user echoed this sentiment, calling the film, “a racist, xenophobic mess with awful Mexican representation made by a French director who didn’t even bother to research our culture,” following its multiple wins at the Golden Globes.

Overall, Emilia Perez is a chaotic mess of a movie that attempts to rely on its strong cast to justify its shortcomings. Unfortunately, there are far too many elements that are executed so poorly that even the talented ensemble cannot save it.

Rating: ★★.5/5