2024-11-28 11:22:00
Director Jacques Audiard (“A Prophet,” “The Taste of Rust and Bone,” “Where the Sun Rises in Paris”) becomes increasingly bold. His new film “Emilia Pérez” is a transgender melodrama set in the Mexican drug world. Why does the mix of genres work so well?
“Emilia Pérez” is actually a musical, but the next moment it’s about the boss of a Mexican drug cartel, the next moment it’s about a man who undergoes surgery to turn him into a woman, and then again it’s about the dominant maternal love – and which alternates as social drama and soap opera as melodrama. The incredible thing about Jacques Audiard’s film, which won the Jury Prize at the Cannes Film Festival, is nominated for four European Film Awards and represents France in the Oscar race, is that this mixture of genres works perfectly! In the interview, Audiard explains how this is achieved.
BRUISE: Do you love musicals?
Jacques Audiard: Not particularly. I don’t even know much about it, but I’ve been wanting to make one for a long time. I like some of them, like Cabaret by Bob Fosse or The Umbrellas of Cherbourg by Jacques Demy. However, I love opera, especially Peter Brook productions.
BRUISE: Why do you abandon your native language with “Emilia Pérez”?
Auditor: I don’t speak any foreign language. But when I read a text in French – the language I love – I pay attention to every comma, every change in tone and rhythm. However, I have now shot in English, Tamil and now in Spanish. For me, cinema is a language of its own, so I pay attention to posture, facial expressions and gestures. They are something like music to me.
BRUISE: Your previous films were very different. Want to try as many genres as possible?
Auditor: I don’t wake up in the morning and say to myself: today I will tackle this genre. My films are not based on a story. They arise from a thought.
BRUISE: At the center of your film is a drug lord who allows himself to be transformed into a woman to escape murder. How important were gender and representation issues to you?
Auditor: I chose the trans woman with a trans woman, Karla Sofía Gascón. I couldn’t have Emilia played first by a man and then by a woman. He’s a trans person and that’s why he needed a trans actress. The form of the film and its content are closely related: it is a trans genre film about a transgender person. Incidentally, gender and gender have the same root.
BRUISE: The doctor who turns drug lord Manitas into Emilia says the problem is not the operation, but the soul. Do you agree?
Auditor: I’m leaning towards that. A serious problem arises for Emilia: the violence she has committed throughout her life as a man is reaching her as a woman.
BRUISE: You
Auditor: I have been in Mexico for a long time looking for locations. The reality of the “desaparecidos”, the missing, is encountered at every corner. My concept is that of an opera: if you have a tragic story to tell, sing it!
BRUISE: Music is sometimes more important to you than dialog.
Auditor: It allows me to address serious issues in Mexico, such as the social reality or situation of transgender people or the disdain for people with a darker main color; I came across this when I cast Zoe Saldana as a dark-skinned lawyer. The music isn’t just an interruption to the plot like in Hollywood musicals, to me it advances the plot.
BRUISE: How did your songs in Spanish come about?
Auditor: I have no experience writing songs. I wanted Camille, the French singer, to compose the songs. She asked me to give her the first three lines for each, the topic so to speak, and I gave her these three lines. He then wrote the lyrics in French and they were translated into Spanish.
BRUISE: There’s a fantastic dance number in which Zoe Saldana dances on the tables of guests at a charity dinner, throwing her sins in their faces. How did this happen?
Auditor: We’ve tried numbers a lot, but not this one. It was created on site. My choreographer Damien Jalet was not amused. Otherwise we had 20 professional dancers leading 60 non-professionals, so we had up to 80 dancers.
BRUISE: They shot the entire film set in Mexico in a studio in Paris.
Auditor: Normally the location is extremely important for a film, it gives it fluidity. In a musical, however, original locations are problematic. In “Emilia Pérez,” the action scenes flow seamlessly into the musical scenes. When shooting outdoors, it’s difficult to maintain control.
BRUISE: You’re 72 years old, you’ve been making films for 30 and this is your tenth directorial job. It seems like you get bolder and bolder with each film.
Auditor: I would say: I’m gaining confidence in myself. I spent my first three films studying. I’ve been writing scripts for a long time, usually many versions, but not so that I can implement them line by line, but so that I can improvise. It’s a paradox: I have to be meticulous in my preparation so that I can throw away what I’ve prepared. I know this sometimes bothers people in my productions. Or should I say: Does it drive you crazy? I can’t sleep well at night, so I like to take a nap during my lunch break. When I wake up after 20 minutes, new ideas have accumulated, and then when I return to the set I shout: ”Okay, let’s change everything. My crew fears longer lunch breaks!”.
BRUISE: Even though virtually everyone involved except the actors is French, Spanish is a constituent element of “Emilia Pérez.” What do you think about dubbed versions where Spanish is sung but German is spoken, for example in Germany?
Auditor: I’m already afraid of it (laughs). No, seriously, there are also excellent translations of Georges Brassens’ chansons. And finally we translated our songs from French to Spanish.
BRUISE: What will you do next?
Auditor: Still no idea. Maybe a lunch break.
What themes are explored in Jacques Audiard’s “Emilia Pérez” alongside its musical elements?
Interview Between Time.news Editor and Jacques Audiard, Director of ”Emilia Pérez”
Time.news Editor (TNE): Jacques, thank you for joining us today. Your new film, “Emilia Pérez,” seems to push the boundaries of genre. Can you tell us a bit about how you blend various elements like melodrama, musical, and social commentary into one cohesive narrative?
Jacques Audiard (JA): Thank you for having me! I find that genres can often limit creativity if adhered to too strictly. In “Emilia Pérez,” I wanted to explore the fluidity of life itself. The transition from a musical number to the harsh reality of the drug world reflects the complexities of the protagonist’s journey.
TNE: It’s intriguing how you utilize different genres. What inspired you to set a transgender story in the Mexican drug cartel backdrop?
JA: It was essential for me to create a genuine representation. This narrative isn’t just about crime; it showcases transformation and identity. By placing Emilia’s story within the violent world of cartels, I was able to delve into deeper issues of gender, violence, and redemption.
TNE: Speaking of transformation, your lead role is played by a trans actress, Karla Sofía Gascón. How important was it for you to have authenticity in representation?
JA: It was critical. I believe that casting a trans actress to portray a trans character brings authenticity to the role. The film’s form reflects its content; it’s a “trans genre” film that genuinely mirrors the experience of a transgender person.
TNE: Music plays a crucial role in ”Emilia Pérez.” You mentioned that sometimes the music can express themes that dialog cannot. How did you approach the musical aspects of the film?
JA: Music is not merely an interlude; it propels the plot forward. In “Emilia Pérez,” I worked closely with Camille, who adapted her French lyrics to Spanish. Her songs help navigate the character’s emotional landscape, addressing serious topics like the struggles of transgender individuals.
TNE: There’s a memorable moment in the film where Zoe Saldana’s character performs at a charity dinner. How did that scene come together?
JA: That scene was quite spontaneous! We rehearsed extensively, but that particular number evolved organically. My choreographer, Damien Jalet, was initially skeptical. It was fascinating to watch professional dancers blend with everyday people, creating a powerful shared performance.
TNE: That’s incredible! You also chose to shoot the entire film in a studio in Paris, despite it being set in Mexico. Can you elaborate on that decision?
JA: Location can define a film’s fluidity, but in the case of musicals, original locations can complicate the narrative flow. By working in a controlled environment, I was able to achieve seamless transitions between dramatic and musical scenes, which I felt was vital to the storytelling.
TNE: Your previous films have spanned various genres. Do you think you’ll continue exploring this diverse approach in future projects?
JA: Absolutely! I’m driven more by thought than by genre. Each film is a new exploration for me—more about expressing ideas than conforming to expectations. The world is full of stories waiting to be told, and I’m eager to continue that exploration.
TNE: Thank you, Jacques, for sharing your insights. “Emilia Pérez” sounds like a powerful and thought-provoking film. We look forward to seeing how audiences respond to this bold intersection of themes.
JA: Thank you! I hope the film resonates with viewers and encourages conversations about identity, violence, and transformation.