In French auteur Jacques Audiard’s new film Emilia Pérez, which premiered at the Cannes Film Festival on May 18, Zoe Saldaña plays Rita, a dogged Mexico City attorney who is contacted, in frightening fashion, by the leader of a major drug cartel. This fearsome figure has observed Rita’s work from afar and thinks she might be the right woman for a very sensitive job: researching the best and most discreet doctors to perform gender confirmation procedures on this murderous crime boss.
Emilia stepping into her fullest self is a triumph in its own right, but it also opens her eyes to the errors of her ways, and of the world’s. Emilia becomes a champion of the missing, working with Rita to locate the remains of people who could very well have been killed by her own underlings. Emilia Pérez may exonerate a vicious murder a little quickly, but in the loopy and loving context of the film, we believe in the arc. That’s largely because Gascón sells it so persuasively.
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