The binary idea of Emilia being caring, nurturing and empathetic, but in her earlier life being cruel, distant and careless, is just another case of perpetuating archaic gender tropes that radiate through this film.
Aside from the deficiencies in the portrayal of trans people, the film also has a lot to answer for regarding its Mexican representation.
Despite the movie being based in Mexico, most of the cast isn’t Mexican, with only one Mexican actress (Adriana Paz) in a supporting role. At times, the Spanish dialogue feels inauthentic, with many Mexican viewers saying they feel the film reinforces harmful stereotypes about Mexico.
The film’s haphazard blending of the transgender experience of gender affirmation surgery and raising awareness for the victims of drug trafficking in Mexico makes for a disjointed, muddled mess.
It is two different movies competing with each other and by splitting attention, each of these delicate and important subjects is ultimately betrayed. The result is a film that sadly feels rather soulless.
Despite the overblown 132-minute screen time, the film spreads itself so thin across multiple themes that the viewer never feels satisfied.
By the credits, all I could wonder was: who is Emilia Pérez for?
Your guess is as good as mine. But with a slew of predicted Oscars awaiting the movie, I’m not sure the filmmakers need to care.
Feature image: Saint Laurent Productions.
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