‘Emilia Perez’, Jacques Audiard’s Strange Bomb That Follows Cannes

Criticize The liveliness of a musical, the thrill of a noir, the fun of a soap opera and melodrama… The director of “Dheepan” reinvents the encore with this film, which wins the Jury Prize and the prize for female interpretation.

Almodaudiard and let it be. This is where I will say that the focus of the realist of “A Prophet” on the terres of the comedy of music and music, a queen of drama with neo-noir accents. Almodovaren in diable donc, the Cineaste Madrilène and the promise of Non Palme ayant Plane on the Croisette to the Journey of Samedi (Noémie Merlant’s Women on the Balcony in a one-minute session, Alexis Langlois’s “Drama Queens” a la Semen de la critique).

Three Roman-Inspired Activities “Ecoate” “Emilia Perez”, created by Boris Razon in collaboration with the singer and composer Camille and his companion Clément Ducole, is a challenge to the famous suspension of disbelief. The scene, also incredible, the autor de la sororale amitié entre une avocate mexicaine, reduced in filial work, and the boss of the cartel who is an accomplished bystander for the death of a woman. Four years after this operation, the Handyman becomes Emilia, renewed by her two small children and the personality of many heroes of the fate of the deceased. And, being a drug lord, he becomes the head of an NGO that serves the families of victims of drug trafficking… Too much ? Well, that’s not what it’s about.

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It seems that, in the wake of their rebirth, Audiard, deprived of some films, would lead to a voluntarism to the limit of opportunity that would limit their “Olympiads”. A compilation of Ainsi “Emilia Perez” from the ostentatious manner, the stories of the moment: MeToo, the Place of Women in a world of men, conjugation, questions of genre and identity, new parentalities… More in Audiard’s exotic and fantasy context was in reserve, he did not pose or play the game, talking about how volunteers are loved with Louis. It is, however, a part of a great entry: Paul Guillaume in a modern and inventive image, Camille and Clement Ducolle, not unique compositions based on rhythm and Spanish (inspired by Mexican folklore) s’accouplent à merveille with the style of Audiard, the faithful Juliette Wölfling in the editing and actresses who are (re)discovered: Zoe Saldana (Avatar), Selena Gomez (Spring Breakers) and the ultimate revelation, Carla Sofia Gascon. Former Spanish actor of ultra-popular soap operas, Gascon became a fact of transition at the age of six. She fait mieux porter Emilia Perez, She offers what she has, She gives her reason. Discover the most restrained scenes (dialogue with a little girl who came to the endormir) and an emotional picture.

They are ardeur, their fragility, they are a monstrous charisma that is essential to their Passage. The image of the film (in the hall on August 28), which transforms the complexes and false semblances of post-MeToo in a fairy-tale matier of the Roman style, amuses sexual tasks and borderline morals (love/haine, altruism/cupidit), etc. to invent a great (and beyond the norm) popular hero. Fun in a musical, tremors in a noir, fun of a soap opera and melodrama, “Emilia Perez” is a bomb strange.

The south held him Cannes Film Festival

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