'Emilia Pérez' combines humor, suspense, and violence in a musical 

Some filmmakers follow genre conventions more or less faithfully and produce good work. But a few truly gifted directors create surprising, imaginative assemblages of familiar, but seldom combined, or certainly less dramatically interpreted, features. One of those exceptional artists is French director Jacques Audiard, known for the stunning "A Prophet," "Rust and Bone," and "Dheepan," a Cannes Palme d'Or winner.

His reputation is secure with his "Emilia Pérez," described as "a French musical crime comedy film." It qualifies on all counts. Consider this. Facing personal threats, Mexican cartel kingpin Manitas del Monte decides his only escape from his violent, dysfunctional life is to transition to a woman. Manitas compels the shocked lawyer Rita to find a qualified doctor to pursue his escape from an ugly life of crime. To reveal any more of the marvelous twists and turns would ruin the exhilarating roller coaster ride blending humor, suspense, violence, multiple shocks, plus fabulous singing and dancing. Audiard segues seamlessly through genres, whisking the audience through characters' stunning array of emotions.

"Emilia Pérez" delivers one unexpected development after another, plus a few staggering moments. The film announces its unique pedigree in the opening scene as Rita breaks into song and dance along with an entire courtroom and street scene. An extraordinary musical and a triumph of great dramatic performances, it highlights the talented Zoe Saldana, Selena Gomez, and Karla Sofía Gascón, a trans woman in real life. Among other awards, the film won the Cannes Film Festival Best Actress Award for the entire women's ensemble. They impressively mesh their characters' various personalities.

At the discussion following the screening I attended at this year's Telluride Film Festival, Audiard explained that "Emilia Pérez" began with Boris Razon's 2018 novel "Écoute" about a narco trafficker. Audiard initially intended it as a four act opera libretto, that segued into a musical comedy, keeping the opera DNA. He praised "high quality storytelling" that he admires, singling out that of John Huston in particular. Here Audiard shows his mastery of exactly what he praises, that is, multilayered, thrilling drama. Winner of the Jury Prize at this year's Cannes Film Festival and the French entry for Best International Feature Film for this year's Academy Awards, in English and Spanish with English subtitles, "Emilia Pérez" is available now.