Nothing in law school prepared her for this—not the bar exam, mock trials, nothing!
Only creative, forward-thinking, and innovative filmmakers could concoct this modern-day life-of-crime fable. Those accolades describe writer/director Jacques Audiard (A Prophet) and his co-screenwriters Thomas Bidegain and Nicolas Livecchi. They’re telling a tale that will rock audiences’ world. A parable so different ears won’t believe what they hear and eyeballs will be glued to the screen. And that’s just the beginning.
Rita (Zoe Saldana, Avatar) is a very successful defense lawyer who lives and works in Mexico. She’s so good she gets guilty creeps off the hook, even when they deserve to go to the slammer. Her success doesn’t go unnoticed. She gets a mysterious phone call: “Do you want to become rich?” It’s for a job she doesn’t want and declines. Unfortunately for her, ‘no’ is not an acceptable answer. Next thing she knows, she’s been kidnapped and is facing the menacing leader of a drug cartel. Rita is scared to death as Manitas Del Monte (Karla Sofía Gascón), with his evil stare, gravelly voice and metal-grill teeth, demands her services. Defense lawyer? No. Consigliere? Closer. How about leader of his transition team.
The fresh, mind-boggling narrative captures attention and holds it throughout. Audiences won’t gain their equilibrium again until the film ends. That’s two hours and 10 minutes later (editor is the very brilliant Juliette Welfling). Not willing to make things easy for anybody, the filmmakers made this movie a musical too. Characters sing and dance. They break into song at good or awkward moments. The pulsating musical score in the beginning is entrancing. But some of the song/dance routines feel Broadwayish, and some like musical videos. Others are like a fashion shoot.
However, the words and music, unlike those in Joker Folie à Deux, define scenes, distinguish characters, extend emotions or further the plot. Sometimes the breaking into song feels organic; but sometimes disruptive in a plot line that needs no enhancements. Saldana is a decent singer, a better dancer. Selena Gomez and other cast members have stellar voices that can sell records. Still nothing is imperfect enough to detour attention from the riveting storyline—nothing.
Rita helps Manitas become his better self. The machinations involved, from finding international surgeons like Dr. Wasserman (Mark Ivanir, Schindler’s List) and operating rooms, to learning how to accommodate her newly transformed boss Emilia, keep Rita on her toes. She also has to juggle the lives of Manitas’ wife Jessi (Gomez) and his two sons. They’re moved around under the deception that their lives are in danger, and they must live on the lam. Jessi’s lover Gustavo (Edgar Ramírez, TV miniseries Carlos) is in the picture. Epifinía (Adriana Paz), a battered wife, who becomes Emilia’s new friend, is added to the new extended family. Jealousy, threats and guns add complexities. How will this all coalesce? Where will this lead?
Saldana, Gomez, Paz and Gascón intermesh well, pushing each other’s performances to great heights. Saldana demonstrates a certain dexterity as a lawyer who becomes a fixer. Gomez plays Jessi like a lamb lost in the woods—a lamb with a strong libido: “Gustavo, my p—- still hurts when I think of you.” She’s a wife who knows her dead husband’s cruelty well: “He’d cut us into pieces and feed us to the dogs.” Ivanir is one of the better singers. Ramírez has an edge that makes you feel like Gustavo is reckless. But when Oscar nominations are announced, if there’s justice in this world, Gascón may make history and gain an Oscar nomination for Best Actress. Hard to ignore the magic she creates as she navigates between OG cartel head and a sweet lover with a jealous streak.
Jumping between violent action scenes, brightly lit operating rooms and lowlight bedrooms seems easy for cinematographer Paul Guilhaume (Paris, 13th District). Adding to the footage’s visual flair looks like second nature for production designer Emmanuelle Duplay (Anatomy of a Fall) and costume designer Virginie Montel (A Prophet). The very daring music by Camille and Clément Ducol sets this film apart. Some songs are powerful; some not. Yet viewers and listeners will take the great with the not so great in stride.
Jacques Audiard, a very versatile French director, can add musical film to his eclectic resume. This project idea came to him during COVID, when he read the 2018 novel Écoute, by Boris Razon. Now with this inventive production, combined with previous work like the immigrant prison/drama A Prophet and modern romance Paris, 13th District, he has a diverse filmography. He can also expect Oscar nods for Best Director, Film, Adapted Screenplay and acting nominations. Very impressive.
Nothing will prepare audiences for this heady strange mix of gender ID transformations, crime, thrills and romance. Nothing. They’ll feel as coerced and lost in love’s drama as Rita.
(For more information about the New York Film Festival, go to <www.filmlinc.org/nyff2024/guide/>. Visit Film Critic Dwight Brown at <DwightBrownInk.com>.)
