Jacques Audiard's eighth feature film, the musical-crime thriller-melodrama Emilia Pérez, may very well be his most audacious, but that audacity mostly papers over the huge gaps in its moral universe. The film has been lambasted for its inauthenticity in depicting contemporary Mexico, its culture, and its music (none of the main stars are Mexican-born and the songs were penned by French composer Clément Ducol and singer Camille Dalmais), but its problems run deeper than charges of cultural appropriation. While Audiard's previous Cannes darlings A Prophet (2009), which won the Grand Prix, and Dheepan (2015), which won the Palme ... Read More