Emily the Criminal – first-look review | Little White Lies

Festivals

Emi­ly the Crim­i­nal – first-look review

31 Jan 2022

Words by Jourdain Searles

A human face with a serious expression, captured in a darkly lit setting.
A human face with a serious expression, captured in a darkly lit setting.
Aubrey Plaza deliv­ers a stand-out per­for­mance as a strug­gling artist with a crim­i­nal record who becomes involved with a cred­it card scam.

Aubrey Plaza’s career post-Parks and Recre­ation has been char­ac­ter­ized by dar­ing roles, tak­ing big swings in indie fare like Ingrid Goes West, The Lit­tle Hours, and last year’s under­seen gem Black Bear. In each per­for­mance, Plaza lets loose a lit­tle more, reveal­ing her stag­ger­ing emo­tion­al range. But this year’s Sun­dance pre­mière, John Pat­ton Ford’s tense dra­ma Emi­ly the Crim­i­nal, is per­haps Plaza’s best per­for­mance to date. With her steely demeanor and large, intense eyes, Plaza is a force to be reck­oned with a hid­den bru­tal­i­ty just wait­ing to be unleashed.

The film tells the sto­ry of Emi­ly (Plaza), an ex-con deal­ing with crip­pling stu­dent loan debt and no lucra­tive job prospects. Her gain­ful­ly employed best friend (Mega­lyn Echikun­woke) is hes­i­tant to put a good word in for Emi­ly at her job due to her crim­i­nal record. Mean­while, she’s work­ing a low-pay cater­ing gig as an inde­pen­dent con­trac­tor with no ben­e­fits or union pro­tec­tion. Though she’s been mak­ing it work for as long as she can, Emi­ly knows that if some­thing doesn’t change her life in Los Ange­les will be over. Hail­ing from New Jer­sey, Emi­ly has no fam­i­ly con­nec­tions in Cal­i­for­nia and would have to return to the east coast in order to save mon­ey and start her life over. Her friend argues against the move, but what does she know? She has a job.

But right when all hope is lost, Emi­ly enters the world of dum­my shop­ping” where work­ing-class peo­ple like her can make mon­ey by pur­chas­ing big price items with fake cred­it cards and sell­ing them for a prof­it under the table. The oper­a­tion is run by Youcef (Theo Rossi) and Khalil (Jonathan Avig­dori), two Lebanese immi­grants (and broth­ers) try­ing to build a life for them­selves and look after their moth­er. Though hes­is­tant at first, Emi­ly even­tu­al­ly throws her­self into her new job, soak­ing up as much infor­ma­tion about the busi­ness as she can. She takes to it quick­ly, using every set­back as a learn­ing oppor­tu­ni­ty. Emily’s trans­for­ma­tion from novice to pro­fes­sion­al crim­i­nal is grad­ual, her ruth­less­ness creep­ing into her every­day life.

The bril­liance in Emi­ly the Crim­i­nal lies in its real­ism. Ford takes a relat­able sto­ry – elder mil­len­ni­al grap­pling with debt, look­ing for work and try­ing to sort her per­son­al life out – and uses it to com­ment on the way soci­ety sees peo­ple with a crim­i­nal record. Due to her past, Emi­ly is treat­ed like a crim­i­nal at every job inter­view, con­stant­ly forced to grov­el for a liv­ing wage. And after years of being sor­ry, she reach­es her break­ing point, becom­ing exact­ly what they assumed her to be. Though trag­ic, it makes karmic sense – how is an ex-con sup­posed to sur­vive in Amer­i­ca if they’re stripped of oppor­tu­ni­ties to live a bet­ter life? And is it any more crim­i­nal than the nature of cap­i­tal­ism itself? In a world where it’s near­ly impos­si­ble for the work­ing-class to get by, Emi­ly the Crim­i­nal is a small fish in a big pond. She’s not a hero, but she isn’t try­ing to be. She’s just try­ing to survive.

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