Emilia Perez: A fierce, distinctive vision of independence
A vital, vibrant piece of cinema, Jacques Audard’s Emilia Perez is a gleeful mashup of a variety of genres that, much like its titular character, creates its own proud identity. And while the title refers to a single character, three women drive the story, each blazing their own trail towards embracing their true selves, the outcome be damned. Each of the actresses portraying them deliver fierce performances brimming with strength and determination, but more importantly, they lend a sense of empathy and poignancy that allows the viewer to relate to their struggle, an essential component in making the film work.
Rita (Zoe Saldana) has never been a stranger to hard work or being underappreciated. She puts in long hours at the law firm where she’s employed, only for senior members to take the credit. As a result, her self-esteem has become battered and she’s in desperate need of a change, which comes from the most unexpected of places. Manitas Del Monte (Karla Sofia Gascon), known leader of Mexico’s most powerful drug cartel, approaches her with a hard-to-turn-down proposition. Rita will be given more money than she ever dreamed of if she agrees to find him a surgeon that will perform the operation so that he might transition from being a man to a woman. The attorney must also establish him a new identity, help fake his death and arrange for his wife, Jessi (Selena Gomez), and their two children to go into hiding in Switzerland. Just another day at the office.
This plot-heavy first act breezes by, thanks not only to the audacity of the plot, but also the lively song and dance numbers that drive it. Yes, Emilia Perez is the musical-gangster-melodrama-dark comedy movie you didn’t know you wanted or needed.
The plot twists keep coming as Emilia (Gascon, again) emerges, claiming to be Manitas’ cousin. Wanting Jessi and their two sons near her, she insists they share her home. Obviously, this is a situation fraught with peril, and things comes to a head when Jessi begins openly dating Gustavo (Edgar Ramirez), the man she was cheating on Manitas with.
The soap opera elements become more and more outlandish as the film hurtles towards its conclusion, but along the way, the transformation of these three women provide the emotional foundation of the story. As an act of atonement, Emilia and Rita create a foundation dedicated to finding the thousands of missing people who fell victim to drug cartel kidnappings while Jessi embraces the fact that she can now dictate the path of her own life away from the long shadow of her criminal husband.
Though the film clocks in at over two hours, it never lags, the clever songs and furious choreography providing it with a driving energy that’s engaging throughout. Saldana, in particular, is a revelation in these moments, her background as a ballerina being put to good use as Rita expresses her frustration through a series of incendiary dances that threaten to rend the screen.
To be sure, the musical numbers, moments of dark humor and surprising plot twists are astonishing, but it would mean nothing were it not for the compelling journey of these three women and the actresses who bring them to life. Gascon, Saldana and Gomez embrace and portray these characters in a way that can only be done by deeply relating to them. It’s obvious each is channeling whatever personal frustrations they’ve had to contend with in their careers in their performances, their catharsis and liberation channeled through Emilia, Rita and Jessi. Each displays a sense of strength that’s wonderful to witness and share in.
Audard’s willingness to challenge the conventions of various genres as well as the audience is to be commended, his singular vision providing an avenue to tell this unique story at a time in which it is needed most. Like its characters, Emilia Perez isn’t asking for the viewers’ acceptance, just the ability to follow the beat of its own drum without recrimination. It does so with confidence and pride, making it one of the year’s best films. Streaming on Netflix.
Grant a revelation in Heretic
There’s always been a sense of the mischievous about Hugh Grant. What with a glint in his eye and the nature of his sly smile, the suggestion that a bit of malevolence may lurk beneath his charming mien has always been there. So, I suppose it should come as no surprise these traits would finally be put to good use in a horror film, Scott Beck and Bryan Woods giving the actor one of his best roles in Heretic. Not only playing against the audiences’ expectations where Grant’s casting is concerned, their script has more than its fair share of smart twists. Too bad they fail to stick the landing, the third act regrettably falling victim to genre tropes and incredulous plotting.
Grant is Mr. Reed, a retired professor and theologian who, were you to see him in the neighborhood, you’d likely receive a big smile and wave. This, of course, is all a ruse yet Sisters Barnes and Paxton (Sophie Thatcher and Chole East) don’t know this and are immediately taken in by his seemingly wholesome charm. Having requested information about The Church of Jesus Christ of Latter-Day Saints, the two young ladies have been dispatched to Reed’s house with the intent of making him see the light. Armed with a pamphlet and boundless enthusiasm, they enter the man’s home, unaware they’re stumbling into a trap.
Reed exploits their naivete by posing increasingly complex questions about their religion and faith, asking them if they truly belief in their religion or are just saying so because they have been asked to. In a brilliantly acted and written sequences in which Reed compares various religions with Monopoly, he argues that all belief systems are essentially the same, that all adhere to the same doctrine though there are surface elements that make them appear different. This is all done with a sense of mounting menace until Reed, revealing to the girls they are trapped in his house, presents them with a choice. With two doors available for them to exit, one labeled “belief,” the other, “disbelief,” they must choose the door that best describes their state of mind, and it will lead them to freedom.
Of course, it’s not that simple, as their decision leads them to a series of other moral quandaries, their answers to each leading them, Reed claims, to the truth about the one true religion. Beck and Woods’ premise is intriguing and their theme worthwhile, yet once all the fascinating talk ends, holes in the plot begin to show. Much of what plays out simply doesn’t hold water, the film’s logic jettisoned for cheap thrills and nonsensical plot twists. And as the story falls apart, nagging questions begin to emerge.
Just what is the history of Reed’s house? It sits above a labyrinthine system of seemingly ancient tunnel and passageways. Surely its background could have added some depth to the story, while the presence of other characters who appear beg even further explanation. And just what is Reed’s raison d’etre? The story is simply begging for his back story as there’s no explanation as to what makes him tick. A missed opportunity, revelations concerning his past would have made him more human and terrifying.
It’s unfortunate the heady questions posed by the filmmakers are reduced to narrative detritus in the end. Once the improbabilities start piling up and the hoary conventions are utilized – you’ll be scratching your head over how a supposedly dead character is still alive – it’s obvious the rails have been jumped. Grant is a delight and nearly worth the price of admission. Too bad Beck and Woods couldn’t sustain the faith of their narrative convictions.
Pageant heavy-handed but effective
Heavy-handed, yet sweet, Dallas Jenkins’ The Best Christmas Pageant Ever contains a sense of sincerity about it that makes it more effective than it should be. This adaptation of the seminal holiday classic by Barbara Robinson manages to conjure the same sense of whimsy akin to A Christmas Story while delivering its theme in an unexpectedly poignant manner. It’s a fine line between comedy and pathos, yet somehow Jenkins walks it to deliver a fair share of gentle laughs while tugging at our hearts.
The story is narrated by Beth (Lauren Graham), who is reminiscing about the annual Christmas pageant conducted by her church in the town of Emmanual. As a child (Molly Belle Wright), she and the other children of the community were terrorized by the Herdmans, six children who are seemingly raising themselves, their parents never present, their behavior unchecked. Bullying and abusive, the sextet is known for their cussing, shoplifting, acts of arson and all-around heinous behavior. This is all, inexplicably, tolerated by the community, no offers of aid coming forth, the kids shunned instead.
That is until the director of the annual Christmas pageant breaks both of her legs and Beth’s mom, Grace (Judy Greer), steps in to fill her shoes. Showing up for free food at the church just as preparations for the show are getting underway, the Herdman children catch wind of it and decide they want to participate. Seeing a need in them others have ignored, Grace allows them to take the lead roles, much to the consternation of Emmanuel’s uppity citizens, who see nothing but disaster resulting in letting these hooligans into the church.
The oldest of the Hardmans, Imogene (Beatrice Schneider), emerges as the catalyst of the story, connecting with her role of Mary, channeling her strength but also relating to her outsider status. Her siblings respond in kind, taking a deep dive into the story of the nativity and its theme of acceptance and perseverance. Of course, through them, the congregation gets the wake up call they need, seeing the oft-told story played out by those they have ignored.
While the outcome of the story is predictable, Jenkins adopts a brisk pace to get us to the climax, which proves surprisingly effective. Yet, much of this depends on the viewer not asking hard questions, as the absence of the Herdman children’s parents nags throughout, as does the fact that no one in the community has stepped into help before these events. That there is no indication if any intervention was done after the pageant, seems a gross oversight. With Pageant painted in such large strokes, these concerns are glossed over, its intent being to simply drive home its positive message.
This article appears in Low attendance holds back school performance.
