Emilia Pérez has 10 Golden Globe nominations, wins at Cannes, and an inevitable presence in authoritative year-end film lists. We figure out the secret to the success of Jacques Audiard's new work and why a Frenchman made the most Mexican of musicals...

If suddenly and for no reason people singing and dancing on screen annoy you, then Emilia Pérez is not for you, and no text will convince you that this film is truly worth attention. Otherwise – read on.

Rita (Zoe Saldaña, a woman who sings in the most unlikely situations) is a lawyer working for a company that is more about protecting the powerful than pursuing justice. She is approached unofficially by cartel boss Manitas (Karla Sofía Gascón). But it's not about some mundane document change or what lawyers usually do for criminal organizations. Juan wants to leave the criminal world, and at the same time... become a woman. For this, he needs help with the surgery and all the accompanying transformation.

At first glance, it seems like a good crime thriller: a successful lawyer working for a shady company, an unexpected offer from a mobster, conspiracies, justice, and money. But as soon as the theme of transgenderism comes into play, the film takes an unexpected turn. And if that weren't enough, the entire film is a musical!

Karla Sofía Gascón as Manitas/Emilia not only seems like a remarkable performer (don't be surprised when she takes home the Golden Globe, or even the Oscar, following her already successful win at the Cannes Film Festival), but literally transforms into a character whose struggle for a new life is not only with the outside world but also with herself.

The theme of transgenderism here is not a trend but a truly important part of the metaphor: the process of gender reassignment becomes synonymous with the transformation of one's personal destiny. Unsurprisingly, in the quietest and most poignant scenes, the hero, when asked, "Is this really what you want?" answers affirmatively with tears in his eyes.

At the same time, one of the most memorable aspects of Emilia Pérez is still the musical numbers. Here, even terms like "vaginoplasty" are sung! Combined with traditional crime elements, this creates a unique atmosphere, but sometimes it seems that the material itself does not always match the level of execution. Some scenes evoke laughter and surprise, others a feeling of awkwardness due to the use of stereotypes about transgender women.

Despite the musical nominations at the same Golden Globes, there are rather no bright and memorable songs in the film. And this is quite strange, given their number and the obvious emphasis on this component.

But what is definitely not lacking is emotion. The common term "Mexican passions" gained popularity in our latitudes thanks to Mexican (and not only) soap operas that flooded our television at the end of the last century. Well, these very Mexican passions are abundant in the film Emilia Pérez, even though it is by French director Jacques Audiard. If it's love, then it goes as far as kidnappings with torture; if it's tension, then it's enough to make the hairs on your skin stand on end. And tears. Rivers of tears.

Emilia Pérez is not just a crime drama with hints of a musical and transgender themes. It is a story about finding oneself, about the courage to change one's destiny, and about the fact that even in the darkest corners, one can find light. The film makes you think about how far a person is willing to go for freedom and happiness, and how important the support of loved ones is on this journey.

If you are ready for experiments and open to new impressions, perhaps this film will be an interesting experience for you. Because we have never seen such a crazy cocktail before. And also, there is Selena Gomez. Who knows, maybe for some this factor will be decisive.

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