Despite its high entertainment value, the limited time allocated to Emilia’s transition and adaptation feels inadequate. This brevity limits the emotional depth of the character’s development. Still, Karla Sofia Gascon’s outstanding performance largely compensates for this shortfall. Audiard seems to invite us to explore not just Emilia’s transformation but also Rita’s. Could this clandestine partnership serve as a way for both characters to navigate their respective identity crises? Possibly.
The second half of the film begins with a four-year time jump. Rita and Emilia cross paths again at an elegant dinner party in London—unsurprisingly, not by coincidence. Emilia, now unable to bear being separated from her children, enlists Rita’s help to reunite with her family. Disguised as the cousin of her former self, Manitas, Emilia returns to Mexico with her spouse and children. This marks the beginning of the film’s most complex—and at times problematic—section.
In Mexico, Emilia undergoes a seemingly miraculous transformation, becoming a benevolent force overnight. She establishes a non-profit organization dedicated to helping those affected by cartel violence or missing loved ones—people whose suffering she may have caused in the past. However, “remorse” feels like a flimsy justification for this sudden shift. Despite this, the film acknowledges its own inconsistencies, with Rita voicing criticisms that reflect the audience’s concerns. Some musical segments also effectively address these contradictions, preventing the unease from lingering too long.
The film then transitions into a broader exploration of societal issues in Mexico, including crime, violence, corruption, and gender-based violence. However, Audiard’s commentary on these topics is short-lived, with the final act reverting to a classic ransom-kidnapping narrative centered around family, betrayal, and anger.
While the film’s world remains compelling, the narrative complexity splits the audience’s focus, hindering deeper emotional resonance. Additionally, certain subplots feel unresolved, such as Emilia’s brief romance with Epifania, or the Bonnie-and-Clyde parody involving her ex-wife Jessi, played by Selena Gomez, and Jessi’s new love Gustavo.
