In this captivating tale of transformation and self-discovery, I am utterly mesmerized by the journey these extraordinary artists embarked upon to bring Emilia Pérez to life. The story, as bizarre as it may seem, is a testament to the power of resilience and the human spirit’s unyielding desire to break free from the mold.
Fundamentally, the movie titled “Emilia Pérez” by Jacques Audiard, an unusual blend of transgender themes, Mexican drug cartels, and a musical telenovela, revolves around the narrative of change, metamorphosis, and renewal.
The change isn’t merely about Juan “Manitas” Del Monte, a Mexican drug lord yearning to depart from a life of violence and mortality, opting for gender-affirming surgery to reveal her authentic identity as Emilia Pérez: a captivating, lively woman. (The versatile Spanish trans actor Karla Sofía Gascón embodies both characters.)
Emilia Pérez is essentially the journey of Zoe Saldaña’s transformation on screen. Known for her roles in Avatar and Guardians of the Galaxy, Zoe finally has the opportunity to portray her own character, free from any alien skin, as Rita Moro Castro – a hardworking, often underappreciated defense attorney nearing 40 who has dedicated her career to keeping ruthless cartel members behind bars. A mysterious figure named Manitas presents her with an intriguing proposition: Assist in my gender transition, help relocate my family and arrange my disappearance, and I’ll compensate you generously enough for you to enjoy a comfortable retirement.
Later, we find Manitas’ wife, Jessi, portrayed by Selena Gomez, who embodies Barbara Stanwyck’s gangster moll character. She flees from the cartel life with her children and settles in Switzerland, rebuilding her life as an independent single mother. The snowy Alps are a more comfortable environment for her than Mexico City’s barrios.
In the movie titled “Emilia Pérez,” its character undergoes a series of transformations, not just once but numerous times over a brisk two hours and twelve minutes. Initially a hard-boiled crime thriller, it smoothly transitions into soap opera-like melodrama, delves into political critique, and eventually morphs into a humorous, slapstick comedy when, following her transition, Emilia attempts to rekindle relationships with her kids by disguising herself as their aunt, much like in the film “Mrs. Doubtfire.
In “El Alegato,” the film, Saldaña as Rita traverses the bustling streets of Mexico City at night, accompanied by a troupe of tap-dancing individuals who symbolize the oppressed. In the number “El Mal,” she navigates through tables at a high-profile charity event, revealing corrupt secrets of Mexico’s ruling class with a hard-edged rhythm that blends folk, rock, and rap. The song “Mi Camino” by Jessi is a personal anthem tailored for Gomez, drawing on her real-life battles with mental health. In contrast, the melodies sung by Gascón in Emilia’s songs are more introspective and minimalist, such as “Papa,” a tender lullaby between Emilia and her son that features only piano and acoustic guitar accompaniment.
It’s not unexpected that Emilia Pérez had her beginnings as an opera. Audiard drew inspiration from a character in Boris Razon’s 2018 novel “Listen,” a drug trafficker seeking legal assistance to transition into a woman. The idea of a “hyper-masculine, violent character yearning for femininity” intrigued Audiard so much that he wrote 30 pages on the subject. However, instead of writing a film script, he found himself composing an opera libretto, complete with scenes, tableaus, and archetypal characters, but lacking in deep psychological portrayals.
Audiard contacted composer Clément Ducol, who served as the musical director for Leos Carax’s rock opera “Annette,” along with his frequent collaborator Camille, a renowned French singer-songwriter recognized in the U.S. for her work on “Le Festin” from the “Ratatouille” soundtrack. Notably, she also created music for the animated feature “The Little Prince” (2015) and Marie Kreutzer’s “Corsage” (2022). In early 2020, this duo started composing songs and music for Audiard’s new project, uncertain about its direction.
According to Camille, Jacques didn’t present any clear idea about the project, instead he posed queries: “Should this project be an opera or a musical?” He probed us with various questions such as, “Should all dialogue be sung, or should it be spoken? Should the music and soundtrack blend seamlessly, or should there be separate scores and distinct songs?” It was a barrage of questions, and our task was to provide the solutions.
As a fan recalling the experience, I’d say, ‘From the get-go, we were handed just a brief 30-page tale, but Jacques had grander plans. He yearned for us to be immersed right away. The music wasn’t supposed to merely complement the script; it was to be an integral part of the narrative fabric. For him, music was to be the foundation and framework from the outset.’
Audiard was penning down vigorously, incorporating new scenes, characters, and elaborating storylines, synchronizing with the melodies crafted by Camille and Ducol, all in an effort to perfect the structure of the narrative he envisioned.
To add a touch of authenticity to his script, Audiard started searching for locations in Mexico. For the visuals, he collaborated with cinematographer Paul Guilhaume, whom he had previously worked with on the French detective series The Bureau, and also on Audiard’s black-and-white film Paris, 13th District (2021). However, it was Guilhaume’s experience in creating music videos for eclectic artists like Kanye West and Rosalía that intrigued Audiard for the project Emilia Pérez, despite the fact that he himself wasn’t entirely clear about the specific visual style he desired.
Initially, Jacques discussed two endeavors that caught my interest: One was a raw, unscripted cartel drama, capturing authentic energy on-location without any music, and the other was an opera staged production, sharing the same name. However, as work progressed, and after several months of careful preparation and site reconnaissance in Mexico, these two projects morphed into one combined project.
Audiard reflects: “For several months, we’d been collaborating with the composers, creating music, lyrics, and a thickening script. At one point, I questioned, ‘Is this an opera or a movie?’ The composers quickly answered, ‘A movie.’ I believe they did so because if they had said opera, it would have required writing another two hours of music.
The musical is one of the few genres Audiard had yet to tackle. The French director prides himself on being a cinematic chameleon, shifting to adapt to whatever form best suits his story. He’s made a prison movie (The Prophet), a romantic drama (Rust and Bone), a refugee thriller (Dheepan), even a Western (The Sisters Brothers). But until Emilia Pérez, Audiard had yet to go full musical.
He emphasizes that music plays a profound role in his films, a fact he’s acknowledged throughout his career, given his long-standing partnership with composer Alexandre Desplat. He admits that, in a way, his entire career has been steering him towards creating a musical. It was always there, visible yet unnoticed by him.
However, while exploring potential shooting locations, Audiard stumbled upon a raw, unpolished truth that seemed at odds with the vision of the movie he had conceived.
I found myself yearning for something more,” I admitted. “It felt as though I was forcing my words to conform to reality, but the movie craved a more stylized approach. So, I chose to return to France and film in a studio instead. It was like going back to the heart of the project, returning to the stage, returning to the grandeur of the opera.
Collaborating with Emmanuelle Duplay, a set designer who worked on “Anatomy of a Fall” and “120 BPM”, Audiard started to recreate Mexico City, London, Tel Aviv, and Switzerland, not in their actual locations but on a studio backlot in Bry-sur-Marne (a suburb of Paris). This was achieved by utilizing vast backdrops with images captured on location. The production team spent 49 days within the studio, while an additional five days were spent filming exterior shots in Mexico City for the final scene, which took place in a quarry and depicted a confrontation between narco criminals and Emilia.
When I made the move to set up shop in a new studio, I felt it was time to break free from the traditional realism that had been holding Emilia Pérez back. This shift in perspective led me to reconsider my casting choices. If Bry-sur-Marne could convincingly portray Mexico City, then why limit myself to Mexican actors? I expanded my horizons and started looking for talent outside of my usual circle.
Audiard shares that he doesn’t personally know Selena Gomez, the popular musician,” he said. “The primary cause is quite straightforward: there’s a significant age gap between us – she’s 30 and I’m 72. I don’t use social media platforms like Instagram.
Following the meeting, Gomez showcased her skills during a Zoom call with Audiard. When he requested that she sing one of the film’s musical pieces, she let loose and gave an energetic performance. As Gomez recounted to THR in Cannes, where Emilia Pérez premiered, she described her audition as being incredibly expressive, abandoning all inhibitions, and pouring herself fully into it.
It had been several weeks since she received any response. However, Gomez recently posted a video on Instagram showing the moment she found out she’d gotten the role. In the video, she can be seen jumping for joy and exclaiming, “I can’t believe I got the part in the movie! This is going to be amazing!” She dances around her house in pajamas, barely able to contain her tears of excitement.
Gomez expresses that it was particularly meaningful to him when Jacques, despite not knowing much about him, placed faith in him solely based on his abilities,” says Gomez.
When Saldaña received the invitation to try out for the part, she felt it was unlikely that she would be chosen. At 46 years old, this New York-born actress with Dominican heritage had begun her career as a classical dancer on stage. She recalls being constantly immersed in musical theater. However, Saldaña has established herself as an actress playing strong characters in science fiction and action films: Uhuru from Star Trek, Gamora in Guardians of the Galaxy, and Neytiri in the Avatar movies. The character of Rita, a self-doubting Mexican prosecutor who sings about cartel violence and female genital surgery, seemed quite different from her previous roles.
Occasionally, opportunities don’t present themselves because once you’ve established yourself in a particular field, it can be challenging to transition into another area, as Saldaña explained to THR at Cannes. “When an audition arrived, I accepted it, even though I’m not Mexican and I wasn’t sure if I could sing or act as required. I wasn’t confident I was capable.
Meeting Saldaña via Zoom, says Audiard, was a revelation.
As I stood before this resolute woman in her 40s with a formidable past, it dawned on me that I had made an error in casting. I came to understand that my characters were too young, they required maturity. The role that eventually became Rita was initially penned as a male character, as depicted in the novel, and was much younger, around 25. However, what wisdom can a 25-year-old impart about life’s harshness? It is at 40, 45 where one can truly articulate the difficulties life presents.
In their meeting, Audiard found a parallel with Gascón. The Madrid-born actress, who was 46 and a renowned star of telenovelas in Mexico, had undergone her transition at that point. This personal history provided her with a profound understanding of the character Emilia. However, Audiard originally intended to cast two actors for this role, using a cisgender man and woman to emphasize Emilia’s significant transformation before and after transition. It was up to Gascón to persuade him that she was capable of portraying both roles effectively.
According to Gascón, “I shared videos and pictures of myself wearing prosthetics, along with TikTok clips enhanced by filters.” He also altered his voice, speaking in a deeper tone, to demonstrate his ability to portray the character Manitas. This was intended to help him appear as both characters to the person he was communicating with.
According to Audiard, it took some time to persuade, but Karla demonstrated a profound comprehension of the character and the experience that surpassed my own expectations – an excellent discovery for any director.
In her own words, Gascón describes drawing upon her personal experience during a challenging time of transition – “I found myself in a deeply troubled state, yearning to vanish completely” – as a means to embody the character’s darkness in Manitas, and leveraging the tranquility and hope she now feels for portraying Emilia in the second half of the film.
On set, the transformation was pronounced, involving numerous hours of makeup, prosthetics, and facial tattoos for Manitas, with Post Malone serving as the primary inspiration for the costume designer, Virginie Montel. Meanwhile, nearly equal effort went into achieving the “effortless elegance” of Emilia, inspired by Jacques’ reference to Catherine Deneuve, illustrating the dramatic change in appearances.
As a gamer, I found myself deeply immersed in the movie’s world, where the characters of Emilia, Rita, and Jessi are central. Every element of the film’s design seems to echo their transformation. The initial scenes have a haunting, suspenseful vibe, as if it were a dark thriller, as Guilhaume, the cinematographer, puts it. There isn’t a hint of daylight in the opening act. It’s only when Emilia emerges from her operation that Montel mentions the sun makes an appearance, symbolizing a new dawn or perhaps a significant change in our protagonist.
The ominous and somber nighttime shots, reminiscent of Alex Majoli’s photographic style that captures street life with a mystical play of light and glimmering flashes, gradually transition into vibrant hues and stark contrasts thanks to lasers and LEDs. The visual aesthetics of ‘Euphoria’ season two and the Safdie brothers’ film ‘Uncut Gems’ (2019) served as inspirations.
Montel remarks that they incorporated color and opted for softer, sophisticated materials and styles in the costumes. Initially, Rita, portrayed by Saldaña, blends into the background with her constant gray suit, which is accentuated by additional padding to restrict her movements. However, during the “El Mal” scene in the latter half of the film, Rita discards her heavy gray wool outfit for a vibrant, agile red pantsuit. She confidently moves and spins throughout the room, asserting her dominance.
According to Guilhaume, Zoe takes charge of both the camera and lighting equipment. We track her movements using a rough, bright spotlight as she moves from one table to another, revealing the crooks hidden within the room. Intriguingly, Zoe seems to dance along with the Steadicam operator.
Saldaña reminisces about the months-long collaboration with choreographer Damien Jalet, explaining that they would experiment with movements during rehearsals and gauge Jacques’ response when filming. An instance where I leaped onto a table was initially met with reservation but, in the end, we successfully convinced Jacques of its merit.
The idea of Emilia Pérez, from start to finish, was bonkers. There were a thousand ways the film could have gone off the rails. But in making his Mexican crime-telenovela-transgender-musical shot in a studio in Paris and starring three non-Mexicans, the septuagenarian Frenchman embraced the idea of transformation and transition, both for himself and his actors. In telling a story about a woman who becomes who she has always been, Audiard gave his cast — who collectively won the best actress honor at Cannes — the opportunity to do the same.
Gomez mentions that he’s invested a significant part of his life in challenging the stereotypes and expectations surrounding his identity,” he says. “[The movie] has opened up opportunities for me to explore realms I hadn’t dared to venture into before. I was more than ready to embark on these journeys with Jacques and the team.
Gascón expresses: “Over the past few days, I’ve been deeply contemplating. It’s not just about what might happen to me or my career as an actress; there’s so much more at stake. For years, I’ve faced insults, rejections, and violence. Now, unexpectedly, I find myself with a chance to make a positive impact, to improve the lives of others.
This story appeared in the Nov. 13 issue of The Hollywood Reporter magazine. Click here to subscribe.
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2024-11-14 20:26