6/10
2024-08-21 R Emilia Pérez

Emilia Pérez

Passion has a new name.

Release Date: 2024-08-21

Rating: 6.889 / 10

Runtime: 132 mins

Rita, an underrated lawyer working for a large law firm more interested in getting criminals out of jail than bringing them to justice, is hired by the leader of a criminal organization.


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Details

Behind the Scenes

Cast and Crew Members

Cast

Mark Ivanir
Mark Ivanir
Eduardo Aladro
Eduardo Aladro
Emiliano Hasan
Emiliano Hasan
Gaël Murgia-Fur
Gaël Murgia-Fur
Tirso Pietriga
Tirso Pietriga

Crew Members

Jacques Audiard
Jacques Audiard Director
Jacques Audiard
Jacques Audiard Director
Sara Gutiérrez Galve
Sara Gutiérrez Galve Assistant Director
Julien Dara
Julien Dara Assistant Director
Julien Dara
Julien Dara Assistant Director
Jean-Baptiste Pouilloux
Jean-Baptiste Pouilloux Assistant Director
Jean-Baptiste Pouilloux
Jean-Baptiste Pouilloux Assistant Director
Léa Mysius
Léa Mysius Screenplay
Léa Mysius
Léa Mysius Screenplay
Nicolas Livecchi
Nicolas Livecchi Screenplay
Nicolas Livecchi
Nicolas Livecchi Screenplay

Awards and Nominations

Golden Globe - Best Motion Picture - Musical or Comedy

Year: 2025
Status: 🏆 Won

Golden Globe - Best Motion Picture – Non-English Language

Year: 2025
Status: 🏆 Won

Golden Globe - Best Performance by a Female Actor in a Motion Picture – Musical or Comedy

Year: 2025
Status: 🎭 Nominated

Golden Globe - Best Performance by a Female Actor in a Supporting Role in any Motion Picture

Year: 2025
Status: 🎭 Nominated

Golden Globe - Best Director - Motion Picture

Year: 2025
Status: 🎭 Nominated

Golden Globe - Best Screenplay - Motion Picture

Year: 2025
Status: 🎭 Nominated

Golden Globe - Best Original Score - Motion Picture

Year: 2025
Status: 🎭 Nominated

Golden Globe - Best Original Song - Motion Picture

Year: 2025
Status: 🏆 Won

Golden Globe - Best Performance by a Female Actor in a Supporting Role in any Motion Picture

Year: 2025
Status: 🏆 Won

Golden Globe - Best Original Song - Motion Picture

Year: 2025
Status: 🎭 Nominated

Audience Reviews

Read authentic reviews from real viewers about this movie.

See reviews

  • John Doe's avatar

    CinemaSerf

    Rating: 7/10

    ""Rita" (Zoe Saldana) is a lawyer in Mexico who finds her professionalism attracting the attention of the powerful drug lord "Manitas". He spends his time heavily guarded and constantly on the move as he pretty much controls the synthetic drug trade in and out of his country. What does he want with "Rita" though? Well tempted by a great deal of money, she makes the perilous trip to meet him and find out. Suffice to say she gets quite a shock when she discovers that he is determined to become a woman. "Rita" is now charged with the ultra-discrete task of finding a surgeon who can turn "Manitas" into "Emilia". Not only is this highly dangerous for the lawyer, but it's also no walk in the park for the gangster or his family who will need to be relocated and convinced that dad is no more. What now ensues tests the mettle of both characters, especially as the erstwhile father struggles rather more than he'd anticipated when it comes to losing his wife "Jessi" (Selena Gomez) and his two young children. Can he stay out of their lives for ever or might he succumb to that temptation and set the cat amongst the familial pigeons? The story is a bit too episodic and the characterisations superficial at times, which is a shame. That said, though, there is still a strong and emotionally powerful effort from Karla Sofía Gascón as the ruthlessly violent killer who undergoes more than a physical transformation over the four or five year period this drama covers. Saldana also holds this together well delivering an engaging performance as a character who has perhaps lost faith in what the system can do to make things better for ordinary people, so adopts a more "inside the tent of the enemy" approach. It's peppered with musical numbers. Some of those work better than others at introducing delicacy, love, lust and anger into the proceedings but let's be under no illusions that there are any great singers here. I found the denouement a bit rushed and frankly rather weak, but the whole film does shine rather a provocative light on attitudes to gender identification and just as importantly to corruption and the relatively minimal value placed on human life in country where someone almost always works for someone else. It's just a little over two hours, but once it gets into gear it doesn't hang around making for a decent watch tackling important topics that's worth a gander."

  • John Doe's avatar

    CinemaSerf

    Rating: 7/10

    ""Rita" (Zoe Saldana) is a lawyer in Mexico who finds her professionalism attracting the attention of the powerful drug lord "Manitas". He spends his time heavily guarded and constantly on the move as he pretty much controls the synthetic drug trade in and out of his country. What does he want with "Rita" though? Well tempted by a great deal of money, she makes the perilous trip to meet him and find out. Suffice to say she gets quite a shock when she discovers that he is determined to become a woman. "Rita" is now charged with the ultra-discrete task of finding a surgeon who can turn "Manitas" into "Emilia". Not only is this highly dangerous for the lawyer, but it's also no walk in the park for the gangster or his family who will need to be relocated and convinced that dad is no more. What now ensues tests the mettle of both characters, especially as the erstwhile father struggles rather more than he'd anticipated when it comes to losing his wife "Jessi" (Selena Gomez) and his two young children. Can he stay out of their lives for ever or might he succumb to that temptation and set the cat amongst the familial pigeons? The story is a bit too episodic and the characterisations superficial at times, which is a shame. That said, though, there is still a strong and emotionally powerful effort from Karla Sofía Gascón as the ruthlessly violent killer who undergoes more than a physical transformation over the four or five year period this drama covers. Saldana also holds this together well delivering an engaging performance as a character who has perhaps lost faith in what the system can do to make things better for ordinary people, so adopts a more "inside the tent of the enemy" approach. It's peppered with musical numbers. Some of those work better than others at introducing delicacy, love, lust and anger into the proceedings but let's be under no illusions that there are any great singers here. I found the denouement a bit rushed and frankly rather weak, but the whole film does shine rather a provocative light on attitudes to gender identification and just as importantly to corruption and the relatively minimal value placed on human life in country where someone almost always works for someone else. It's just a little over two hours, but once it gets into gear it doesn't hang around making for a decent watch tackling important topics that's worth a gander."

  • John Doe's avatar

    Brent Marchant

    Rating: 3/10

    "It generally takes tremendous courage to stand up and proclaim that the Emperor is indeed naked, especially in the face of a crowd of willfully blind onlookers who contend otherwise. Nevertheless, there are times when this truly needs to be said in light of an inexplicably misguided view to the contrary. And that’s certainly the case with the latest from often-overrated writer-director Jacques Audiard. This jumbled mess of a film can’t make up its mind if it wants to be an edgy musical (given its forgettable songs and original score), a quasi-campy comedy (despite its palpable lack of bona fide humor but with a narrative that’s admittedly frequently laughable), a crime thriller (one that feebly grows ever more pretentious, meandering, implausible and uncompelling with each passing frame) or a treatise on forgiveness and redemption that unapologetically drips with overwrought political correctness. In essence, this offering follows the exploits of Manitas (Karla Sofía Gascón), a Mexican drug cartel warlord who wants to undergo the transgender transition process to liberate the inner woman that has been inside him since birth, aided by a supposedly articulate and self-righteous lawyer (Zoe Saldaña) who hastily and seemingly thoughtlessly sells out with the promise of a financial windfall for her assistance. After undergoing the process, however, the newly emerged Emilia Pérez has regrets about her past, both in terms of her brutal “professional” behavior and the abandonment of her kids and shrewish, self-centered wife (a fine performance by Selena Gomez in one of the film’s few praiseworthy assets). However, this change of heart, while modestly understandable, generally lacks believability. And, given the utterly reprehensible nature and baffling, head-scratchingly contradictory choices of all the principals, it’s difficult to fathom how anyone would care a whit about any of them. That’s especially true for the picture’s lead, whose actions do little to generate any kind of meaningful empathy for transgender individuals and causes. And, through it all, the story is mystifyingly augmented with a slew of inconsistently timed, largely unremarkable musical production numbers that add precious little to the overall story (they could have been left out entirely and it would likely have made for a more compelling release). In sum, the finished product plays like a preposterously melodramatic Italian opera libretto mixed with elements from pictures like “Sicario” (2015) and any number of cheesy Mexican soap operas. How this cinematic morass has managed to garner as much attention as it has received is truly beyond me. That’s especially true with the many undeserved accolades it has received, including 10 Golden Globe Award nominations (a virtually unheard-of number for any film in this awards competition), as well as honors from the Critics Choice Awards, the American Film Institute, and numerous film festivals, including the prestigious events in Cannes and Toronto. Indeed, don’t be fooled into thinking that the blend of diverse elements here should be taken for inventive, inspired originality. But, more importantly, don’t waste your time on this celluloid trash, despite how allegedly elegant the Emperor’s outfits are said to be."

  • John Doe's avatar

    Brent Marchant

    Rating: 3/10

    "It generally takes tremendous courage to stand up and proclaim that the Emperor is indeed naked, especially in the face of a crowd of willfully blind onlookers who contend otherwise. Nevertheless, there are times when this truly needs to be said in light of an inexplicably misguided view to the contrary. And that’s certainly the case with the latest from often-overrated writer-director Jacques Audiard. This jumbled mess of a film can’t make up its mind if it wants to be an edgy musical (given its forgettable songs and original score), a quasi-campy comedy (despite its palpable lack of bona fide humor but with a narrative that’s admittedly frequently laughable), a crime thriller (one that feebly grows ever more pretentious, meandering, implausible and uncompelling with each passing frame) or a treatise on forgiveness and redemption that unapologetically drips with overwrought political correctness. In essence, this offering follows the exploits of Manitas (Karla Sofía Gascón), a Mexican drug cartel warlord who wants to undergo the transgender transition process to liberate the inner woman that has been inside him since birth, aided by a supposedly articulate and self-righteous lawyer (Zoe Saldaña) who hastily and seemingly thoughtlessly sells out with the promise of a financial windfall for her assistance. After undergoing the process, however, the newly emerged Emilia Pérez has regrets about her past, both in terms of her brutal “professional” behavior and the abandonment of her kids and shrewish, self-centered wife (a fine performance by Selena Gomez in one of the film’s few praiseworthy assets). However, this change of heart, while modestly understandable, generally lacks believability. And, given the utterly reprehensible nature and baffling, head-scratchingly contradictory choices of all the principals, it’s difficult to fathom how anyone would care a whit about any of them. That’s especially true for the picture’s lead, whose actions do little to generate any kind of meaningful empathy for transgender individuals and causes. And, through it all, the story is mystifyingly augmented with a slew of inconsistently timed, largely unremarkable musical production numbers that add precious little to the overall story (they could have been left out entirely and it would likely have made for a more compelling release). In sum, the finished product plays like a preposterously melodramatic Italian opera libretto mixed with elements from pictures like “Sicario” (2015) and any number of cheesy Mexican soap operas. How this cinematic morass has managed to garner as much attention as it has received is truly beyond me. That’s especially true with the many undeserved accolades it has received, including 10 Golden Globe Award nominations (a virtually unheard-of number for any film in this awards competition), as well as honors from the Critics Choice Awards, the American Film Institute, and numerous film festivals, including the prestigious events in Cannes and Toronto. Indeed, don’t be fooled into thinking that the blend of diverse elements here should be taken for inventive, inspired originality. But, more importantly, don’t waste your time on this celluloid trash, despite how allegedly elegant the Emperor’s outfits are said to be."

Frequently Asked Questions

What is the runtime of the Emilia Pérez ?

The movie is approximately 132 minutes long.

What is the Emilia Pérez's release date?

2024-08-21 marks the official release date of the movie.

What genre is the Emilia Pérez?

The movie belongs to the Drama Thriller genres, offering a variety of experiences from adventure to fantasy.

Who are the main actors in the Emilia Pérez?

The lead actors include Karla Sofía Gascón , Zoe Saldaña , and Selena Gomez , among others.

Who directed Emilia Pérez?

The movie was directed by Jacques Audiard Jacques Audiard Sara Gutiérrez Galve Julien Dara Julien Dara Jean-Baptiste Pouilloux Jean-Baptiste Pouilloux

What is the Emilia Pérez's budget?

The movie had an estimated budget of $26,000,000 .

How much did Emilia Pérez movie earn at the box office?

A Cinderella Story grossed an estimated $15,366,077 at the box office.

What are some production companies behind the Emilia Pérez movie?

Major production companies include Why Not Productions Pathé France 2 Cinéma Page 114 Saint Laurent Productions Saint Laurent Library Pictures International Logical Content Ventures Les Films du Fleuve The Veterans Vixens Casa Kafka Pictures Pimienta Films .

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