Enter the
audacious
original
provocative
emotional
explosive
lyrical
world of

Emilia Pérez

I AM

WHAT I
FEEL

Yo soy

lo que
siento

Karla Sofía Gascón
One of A Kind
THE MOVIE OF THE MOMENT
BRINGING EMILIA PÉREZ
TO LIFE
JACQUES AUDIARD
& GUILLERMO DEL TORO

I am

And that’s
enough.

Soy y eso

me basta.

SCRIPT TO SCREEN
WITH SELENA GOMEZ
CRAFTING MI CAMINO

THESE PEOPLE

SPEAK,

BUT NOW

THEY WILL
PAY

Esta gente

habla.

Pero ahora lo

van a pagar.

STORYBOARDING THE SCENE
Zoe Saldaña Sings
El Mal
BEHIND THE
CHOREOGRAPHY

I like
how you smell.

You smell
like papa.

Hueles como
mi papá,

me gusta.

CREATING THE SOUND OF
A MODERN MUSICAL
Clément Ducol
and Camille

Is it you?

Bingo.

¿Eres tu?

Bingo.

Luces Cámara Acción
Storyboarding the Climax
THE MUSICAL FABRIC
OF EMILIA PÉREZ
Building the World

It’s not fair

to leave

without living

my real life.

No es justo

irme

sin vivir

mi vida real.

BEHIND KARLA’S STUNNING
TRANSFORMATION
BRINGING THE
CHARACTERS TO LIFE
Crafting the
Vibrant Costumes
MOOD BOARD
Shot By Shot
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THE MOVIE OF THE MOMENT

article

Jacques Audiard on Emilia Pérez: ‘I wanted to make a film that would make me cry’

THE MOVIE OF THE MOMENT

JACQUES AUDIARD & GUILLERMO DEL TORO

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play

Guillermo del Toro & Jacques Audiard discuss Emilia Pérez

JACQUES AUDIARD & GUILLERMO DEL TORO

BRINGING EMILIA PÉREZ TO LIFE

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play

Selena Gomez and Zoe Saldaña Discuss the World of EMILIA PÉREZ

BRINGING EMILIA PÉREZ TO LIFE

Karla Sofía Gascón

video

Karla Sofía Gascón - "THIS CHARACTER WILL REMAIN WITH ME FOREVER."

Karla Sofía Gascón

One Of A Kind - NY Times

article

Meet the Trans Actress Who Could Make Oscar History

One Of A Kind - NY Times

SCRIPT TO SCREEN WITH SELENA GOMEZ

video

Script to Screen with Selena Gomez and Édgar Ramírez

SCRIPT TO SCREEN WITH SELENA GOMEZ

CRAFTING MI CAMINO

article

How Selena Gomez’s Mexican American Heritage Inspired Her ‘Emilia Pérez’ Song ‘Mi Camino’

CRAFTING MI CAMINO

STORYBOARDING THE SCENE

STORYBOARDING THE SCENE

BEHIND THE CHOREOGRAPHY

video

Behind the Choreography

BEHIND THE CHOREOGRAPHY

Zoe Saldaña Sings El Mal

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play

Zoe Saldaña Sings "El Mal" from EMILIA PÉREZ

Zoe Saldaña Sings El Mal

Clément Ducol and Camille

“Writing the score was a huge challenge. We had a strong musical basis with the songs. We came up with vocal materials for the score, performed by me and Camille, and from choruses that really stood out from the song. From the dialogue to the songs to those soundscapes, voices serve as the film’s throughline.”
COMPOSER AND PRODUCER
Clément Ducol
“What I liked about Jacques’ premise, which I found particularly bold, inspiring, and clear from an artistic perspective, was that it felt like an opera company performing a show taking place first in Italy, then in Japan, then in Mexico. The songs captured the feel of Mexico through the language’s phrasing and accents and the voices of the performers, the choruses, and the extras.”
COMPOSER AND PRODUCER
Camille

Clément Ducol and Camille

Luces Cámara Acción

“We built all of our lighting systems to be able to change during the take. Once Jacques realized everything was possible, it became even more central: on a specific line, the gaffer could switch all of the world of the film off and just keep a small light on the face of the actress.”
CINEMATOGRAPHER
Paul Guilhaume, AFC
“The dinner party in London is a key scene that marks the beginning of the second part of the film, a crucial turning point in the characters' lives. The editing of the first part of the scene is focused on efficiency, but for the sung part, emotion alone guided the cut. We stay in close-up, shot-reverse-shot of the two women, with minimal cutting in the editing. They are like the only two people in the world; that’s what we want the audience to feel. It’s a very emotional moment. After this scene, everything will be different.”
EDITOR
Juliette Welfling

Luces Cámara Acción

CREATING THE SOUND OF A MODERN MUSICAL

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play

Creating the Sound of a Modern Musical

CREATING THE SOUND OF A MODERN MUSICAL

Storyboarding the Climax

Storyboarding the Climax

THE MUSICAL FABRIC OF EMILIA PÉREZ

“One of the primary goals of the film was to create a completely organic sonic and musical fabric in which the boundaries between dialogues, songs, music, and sounds are seamless. We aimed to ensure that the “musical” genre did not appear obvious and did not involve a brutal and systematic transition from spoken to sung mode. Instead, we wanted the transitions to be fluid and as natural as possible.

We needed to ensure that everything coexisted — for example, that a choreographed song in a bustling market did not boil down to just a voice and music, but rather incorporated the crowd, noises, market energy, and the song itself, with the rhythm of one supporting the other.”
SOUND SUPERVISOR
Cyril Holtz

THE MUSICAL FABRIC OF EMILIA PÉREZ

Building the World

“The film is set not only in Mexico, but also in Switzerland, London, Bangkok, and Tel Aviv. And all of those scenes were shot in the Bry-sur-Marne studios just outside of Paris! The special effects on the exteriors adds “reality” to certain scenes, particularly for the street. For instance, for the creation of the street market in the opening scene, we were looking for a high degree of realism in the manufacturing process.“
PRODUCTION DESIGNER
Emmanuelle Duplay

Building the World

BEHIND KARLA’S STUNNING TRANSFORMATION

video

Hair & Makeup Timelapse

BEHIND KARLA’S STUNNING TRANSFORMATION

BRINGING THE CHARACTERS TO LIFE

“With Virginie Montel, our artistic director, and Simon Livet, my fellow chief makeup artist, we had to imagine a big contrast between Emilia’s past and present, from the cold-hearted cartel leader Manitas to the reformed and remorseful Emilia. The reality is that Karla Sofía Gascón is a very beautiful woman with magnificent full lips and feline eyes, and we had to play around that. Jean-Christophe Spadaccini, our SFX makeup artist, created perfect prosthetics — nose, cheeks, jaws, old acne, etc. — to make Karla’s face look as different as possible. We still needed Manitas’ scary side while some of Karla’s feminine features remained, so I found inspiration in Mickey Rourke’s character in the 2008 film The Wrestler: tattoos, long hair, thin eyebrows, metal teeth, and tanned skin." - Julia
MAKEUP AND HAIRSTYLING
Julia Floch Carbonel, Co-Head of Makeup

Simon Livet, Co-Head of Makeup
article

The ‘Emilia Pérez’ Characters Transform in Ways Big and Small — and the Hair and Makeup Team Painstakingly Traced It All

BRINGING THE CHARACTERS TO LIFE

Crafting the Vibrant Costumes

“The artistic direction process for Emilia Pérez developed over a long period of time. The form was found from the moment Jacques decided that the film would be shot in a studio in Paris. Numerous trips to Mexico helped us to understand, feel, and see the atmosphere and colors. We kept the essentials and invented the rest. The choice of colors and motifs was inspired by this, with reds and pinks in the sets and costumes. Certain motifs recur, such as the flowers on Jessi at the karaoke bar and on Emilia's skirt at the hospital. The patterns on Emilia's dress at home were used for her statue at the end of the film. We wanted to write the color of the film, to find the inspiration of Mexico in a contemporary vision, revisited and stylized.“
COSTUME DESIGNER
Virginie Montel

Crafting the Vibrant Costumes

MOOD BOARD

Costume designer Virginie Montel utilizes mood boards to draw inspiration for her character’s wardrobe

MOOD BOARD

Shot by Shot

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With Zoë Saldaña, Karla Sofía Gascón, Selena Gomez, Jacques Aduiard

Shot by Shot