On the Estúdio Pow! Podcast, which I participated in until the end of 2024, the last episode was about the Golden Globes and there I expressed my “fear” that Emília Pérez would be the “new Life is Beautiful” and would take away from Walter Salles Jr. not only the Foreign Language Film awards, but that Karla Sofía Gascón would threaten Fernanda Torres not necessarily with a win, but with a spot among the five Oscar nominees. I hate to think that she might be right!

Of course, the Oscar nominations have not yet been announced, and even those “snubbed” at the SAG Awards (in this case, Angelina Jolie, Nicole Kidman, Tilda Swinton, and Fernanda) could turn things around and be nominated, but it is difficult to win the Oscar without winning the SAG because they are the same voters. Anyway, I’ve already done all these calculations before, including my fear that most of the actresses would be eliminated from the Comedy/Musical category, as happened. That’s why, in Brazil, even those who haven’t seen Emília Perez don’t like the film, and I – who saw it a few weeks ago – am on the opposite side of the spectrum. I liked it.

I know it’s going to sound schizophrenic, but Emília Perez is a film with a great story, and good performances, but a terrible soundtrack, which is unacceptable for a musical. If you want to be even more nitpicky, it’s a French film set in Mexico without even ONE Mexican actor in the cast. How is that possible? It is.

The film shows how an idealistic lawyer, Rita (Zoe Saldaña) is chosen by the most feared drug lord, Juan “Manitas” Del Monte (Karla Sofía Gascón), who wants to become a woman. Manita is married to Jessi (Selena Gomez), with whom he has two children. Although he loves his wife, he wants to be true to himself and start a new life. The problems begin when, with her new identity as Emília Perez, Manita returns to the lives of her children and Jessi, unable to avoid the tragedy that follows her actions.

Everything in Emilia Pérez is exaggerated and somewhat confusing, but when it gets going, it engages us, thanks to Karla Sofía’s great performance. There is violence, corruption, empathy, sadness, and emotion. Director Jacques Audiard describes the story as an opera, but nothing is closed in a box. Perhaps this freedom ends up seeming like it’s throwing things in all directions. It doesn’t get in the way at all, but those who are detail-oriented might find it strange.

For me, if there’s a flaw in Emília Perez, it’s the music. A musical without making us memorize a song or get emotional with it? That’s what we have. But if you get past that, what is here incoherently are stories of new beginnings, rebirth, and redemption. When Emília was Manitas, she brought pain, death, and greed to people, but as Emília, she is the opposite: she dedicates herself to correcting the consequences of her past mistakes, and rediscovering herself and love. Unfortunately, life is relentless. This is the source of many criticisms that consider this change too simplistic.

If it were a “conventional film”, no one would deny Emilia Perez its narrative value and its proposal of a story full of twists and turns and an unexpected conclusion. But the fact that it really wants to do something different puts the musical on a level of artistic courage that makes it the “Life is Beautiful” of the year. In other words, it will beat I’m Still Here.

I want to talk about everything I liked about Karla Sofía, but I run into spoilers and end up talking about the flaws that I swear don’t bother me throughout the film. Manitas and Emilia are two such opposite personalities that when Karla navigates between one and the other it is both frightening and exciting. The two parts of the same person awakened at different times and with no chance of changing their fate. We root for Emilia, but Manitas’ shadow is always present and leads her to tragedy.

Karla Sofía’s merit in overcoming all of Emilia Perez‘s traps justifies her nomination for the Awards, even if Demi Moore is in her way. We know little about Manitas, but what we see is very scary. However, Audiard chooses not to go into the drug dealer’s violent past, but to reinforce Emilia’s almost pious stereotype in contrast to Jessi’s moral decadence, who is indeed a victim of circumstances, with Selena Gomez revealing a little-explored side of a dramatic actress.

Thus, Emilia Pérez, despite its flaws — and especially its forgettable music —, is a film that dares, that takes risks, and that, in the end, reveals itself to be more complex than many imagine. Jacques Audiard‘s artistic courage, which presents a story of redemption and self-discovery with a conclusion that leaves us speechless, elevates the film to an unexpected level. Karla Sofía Gascón‘s performance is undoubtedly the highlight of this work.

At the same time, the film provokes us to think about broader issues, such as the search for forgiveness, past mistakes, and the consequences of life’s relentless forces. Emília Pérez may not be a traditional musical, but it is a work that transcends the genre and offers us a unique cinematic experience. Whether or not it will surpass I’m Still Here, time will tell, but it is undeniable that, at least in its proposal, it is one of the most daring and intriguing films of the year.

Whether as a tragedy, a journey of rebirth, or a character study, Emília Pérez challenges us to see beyond conventions and reflect on human complexity, something that few films manage to do with such intensity and courage.

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