Emilia Pérez
Depending on your view, Jacques Audiard’s latest is either bravura or bonkers.
Either he’s teasing his loyal, would-be audience or just doesn’t give a damn what anybody thinks, but 72-year-old French director Jacques Audiard’s latest enthralling melodrama is a truly extraordinary, genre-defying film. It’s a “Spanish language musical-crime-comedy” and the burly cartel boss at the centre of the story is seeking to leave his violent life by transitioning into a woman.
You’d think such a mélange of ideas and styles would spell critical derision or box office disaster – but the film festival darling (for the superb A Prophet and Rust and Bone) won best director at Cannes for his bravura choices, and his four lead actresses shared the top prize for acting. Then, two weeks ago in Hollywood, Emilia Pérez won four Golden Globes. Oscar buzz is guaranteed.
A superb Zoë Saldaña plays Rita Mora Castro, an overworked Mexican lawyer conscripted by drug cartel kingpin Manitas to facilitate his gender transition and faked death. Left to lie to his young family and wife (Selena Gomez), Rita tries to carry on with her life as a successful advocate, until one day the past finds her and drags everyone involved into peril.
The screenplay, written by Audiard as an opera libretto based on the novel Écoute, would have worked well as a traditionally structured crime drama, even with the unique twist of having its brutal protagonist transform into a soft, maternal figure (in this role, transgender actor Karla Sofía Gascón is captivating).
But Audiard’s choice to add songs – well, lyrics anyway – can either be seen as bravura or bonkers. Employing actors who sing rather than popstars (with the exception of Gomez), the musical numbers can feel unnecessary as often as they enthral. In one scene, a perfectly choreographed Greek chorus of extras echoes Rita’s melodic cries of disgust at her corrupt job; later, a clinic in the Philippines bursts into a full jazz-hands musical number as Rita does a recce for her client. And the cartel boss’s plaintive song about wanting to change who he is may just be the most beautiful thing you’ll experience all year.
Those who enjoyed the Sparks-composed musical Annette will appreciate the artistic innovation of Emilia Pérez. As something truly fresh, beautifully acted and cleverly twisty, it’s unlike anything you’ve seen before.
Rating out of five: ★★★★
Emilia Pérez, directed by Jacques Audiard, is in cinemas now.
SING SING
SING SING
Life behind bars is portrayed in a different light in this touching tale.
Sing Sing isn’t a musical, but like Emilia Pérez, it is about criminals finding peace within themselves via unexpected means. Most prison tales are dramas about people trying to break out or exact revenge on staff or inmates. Sing Sing is a refreshing portrait of incarcerated life that delivers a different kind of thrill, the sort that can materialise when a fight for survival under the toughest of regimes is directed to creating art.
In a narrative based on the real-life experience of some of the film’s cast, Oscar nominee Colman Domingo (for Rustin) takes the lead as John “Divine G” Whitfield, a convict at New York’s Sing Sing maximum security correctional facility, a member of the prison’s theatre group under its Rehabilitation Through the Arts programme (a charitable initiative founded in 1996).
He has designs on performing Hamlet’s famous soliloquy in an upcoming production, but when the troupe gathers to collaborate on creating an original work that incorporates everyone’s favourite genres, Divine faces unexpected competition for the role of the tortured Danish prince.
Domingo, a Broadway and TV star who has been in the biz for decades but whose star has soared since 2023′s The Color Purple, is magnificent as the wrongly convicted man trying to keep his nose clean and his spirits up as he waits for his appeal.
But it’s ex-con Clarence “Divine Eye” Maclin who everyone’s talking about, with a performance that’s ambiguously frightening and touching. The fact that Sing Sing replicates Maclin’s experience on the inside makes it even more profound. It’s only the second feature from film-maker Greg Kwedar, but this low-budget, one-location character study amply demonstrates the power you can create out of a strong story and deeply real performances.
Rating out of five: ★★★★½
Sing Sing, directed by Greg Kwedar, is in cineams now.
