As a connoisseur of intricate character arcs and captivating storytelling, I was utterly enthralled by the transformation of Emilia in “Emilia.” The journey she embarked on from a ruthless drug lord to a compassionate advocate for the displaced was nothing short of mesmerizing.
⚠️ CAUTION: This narrative delves into crucial plot developments, even the climax, concerning the Netflix series titled “Emilia Pérez.
In the film “Emilia Pérez,” directed by Jacques Audiard, the characters portrayed by Mickey Rourke in “The Wrestler” and Catherine Deneuve were sources of inspiration for our leading lady.
The movie chronicles the story of Emilia (Karla Sofia Gascón), a powerful cartel boss who requires legal assistance from Rita (Zoe Saldaña) to orchestrate her own death and undergo a gender-affirming operation, enabling her to truly live as her genuine self. Karla Sofia Gascón believed she could convincingly portray Emilia during her transition phase, thereby creating an enormous challenge for the film’s creative team.
Initially, Emilia appears as a formidable drug lord, whose propensity for violence instills fear. However, Gascón clarifies, “Manitas is merely struggling to survive and make progress in society.” Essentially, he was resorting to pretending to be someone else, drowning in the depths of his own darkness, unable to escape from this perilous situation.
Initially, it was crucial for Gascón’s appearance to seem as masculine as possible when introduced to the audience, so the makeup team led by Julia Floch Carbonel collaborated with SFX makeup artist Jean Christophe Spadaccini to explore various nose shapes, skin damage, and hairstyles. As Carbonel explained, “We wanted pre-transition Emilia to be frightening as well.” Drawing inspiration from Mickey Rourke’s portrayal in ‘The Wrestler’, Carbonel sought a face that suggested someone who had fought with bare hands but retained a certain allure – tattoos, long hair, thin eyebrows, and metal teeth. In the end, the team designed a prosthetic nose, jaw, facial scars, and tattoos for the final appearance.
Costume designer Virginie Montel adorned pre-transition Emilia with a stylish blue velvet tracksuit. As Montel explains, “The fabric is delicate, the accessories are eye-catching, and the hair is long – showcasing a feminine aspect that Manitas can only exhibit through masculine conventions learned in her upbringing.” Montel continues, “The blue and white, along with the velvet material, give pre-transition Emilia an air of sophistication. The vibrant color and textured fabric create a striking contrast to her surroundings.” She concludes, “Our aim was to ensure that the character would not be immediately identifiable after her transition.
In the narrative, we move on to a fresh phase in Emilia’s life journey. The movie then leaps four years ahead, and Emilia resurfaces in London, attending a business dinner with Rita. It turns out that Emilia is also present, but Rita fails to recognize her until they start discussing their shared Mexican origin.
Gascón notes that Emilia persistently assumes false identities. She can’t seem to break free from this act of impersonation. He adds that Rita is the only one with whom she feels liberated and authentic. In this particular moment, Emilia appears to be playing games with Rita, yet it seems to Gascón that her actions aren’t merely about regaining custody of her children, but rather a longing for approval as well.
In terms of appearance, Emilia’s post-transition makeup highlighted her delicate qualities, reminiscent of Gascón. Jacques drew inspiration from the iconic French figure Catherine Deneuve for Emilia, aiming to achieve a timeless feminine elegance. Romain Marietti envisioned a soft ash blonde long wavy wig for Karla, departing from the brunette look. With less color contrast, the makeup could be toned down on Emilia, allowing her natural beauty to radiate more prominently.
Emilia’s makeup collection primarily featured shades of beige, khaki, yellow, brown, and peach. Carbonel mentions that they deliberately minimized the use of red since Emilia’s blonde hair might influence how her complexion is perceived. Carbonel further explains that using yellow helps to make red stand out less. However, during the fundraising gala scene later in the film, Carbonel chose a bold matte red lipstick to complement Saldaña’s outfit and symbolize that Emilia’s words were powerful, as if they were fire.
As Emilia adopts a more feminine demeanor, Montel notices that her jewelry has become more sophisticated and her attire subtly highlights her cleavage without being overly ostentatious. “Emilia resembles a blend of Catherine Deneuve and Italian celebrities, dressed in timeless black,” Montel remarks. “She is careful to avoid any risks when it comes to the first impression she gives. Given her newfound sophistication, one might infer that she has a higher education level than her upbringing suggests, or else the movie’s creative liberty permits this assumption.
After the transformation, Emilia’s blonde hair is always neatly arranged, and she feels comfortable sporting various colors, patterns, and silk fabrics. Montel remarks, “Jacques advised us to focus on softness, so we added a touch of elegance. When Emilia initially appears, she exudes sophistication, fitting seamlessly into this upscale London restaurant.
Following her time in London, Emilia sets a reconciliation plan with her children into action and enlists Rita’s assistance for this daring return to Mexico. Upon arrival, Emilia maintains connections to her former life by establishing La Lucecita, an organization dedicated to locating victims of drug cartel killings. Her image softens as she dons pants and silk blouses. As Montel explains, “She understands and values the individuals seeking their missing loved ones. She’s careful not to intrude too much, just like Rita; they are both intelligent women who can adjust to various situations.” He also mentions that she was inspired by affluent Mexican women as well as the icons of French and Italian cinema, whom Emilia likely aspired to emulate.
Emilia’s motivation for starting the organization stems from a deep desire to assist others and improve her community,” Gascón explains. However, it’s her family – her wife Jessi (Selena Gomez) and their children – that she cherishes above all else and longs to reconnect with. “She hesitates to take that step because of her fear of rejection,” he continues. “Instead, she feigns a search for love elsewhere, as she believes it’s impossible in her current situation.
At the movie’s conclusion, Emilia shares a significant moment with Jessi during the song “Perdóname” (a number performed amid a gunfight). In this scene, Emilia sings her secret and tells Jessi about her past, leaving Jessi surprised. Given the tense situation, it might not have been the best time to disclose this information, but Emilia feels that their lives could be at stake and she has no control over what’s happening. So, she seizes this last chance to admit her true identity and express her love for Jessi.
Gascón explains that when Emilia asked for forgiveness, she expressed remorse and never intended to hurt anyone, but rather desired to provide a different kind of existence for the other person in those last moments,
Regarding the development of the character, Gascón notes: “This character isn’t someone who committed terrible acts only to transform into a saintly figure like Mother Teresa. Manitas, in truth, was a drug lord pretending all along. I didn’t view him as a truly wicked person.
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2024-11-18 23:47