The ideas of an entire generation are difficult to sum up, nevertheless transform into narrative. Instead, it’s often more meaningful to close in on a few aspects. In an age where generational divide seems ever-present, zero-ing in on a particular generation’s frustrations can actually help bridge the gap, as if to say “for the most part, we’re all going through the same things.”

That said, there are few things as emblematic of millennial frustrations as Emily the Criminal, directed by first-timer John Patton Ford. The film depicts art school grad with a criminal record Emily (Aubrey Plaza) as she works a low paying food delivery job. When Emily agrees to cover the shift of a co-worker, he sends her a number, which in turn sends her an address and a promise to pay her $200 for an hour of work. Hesitantly, Emily accepts and is brought into a credit card fraud ring.

Emily gets deeper into the criminal world of fraud, which is of course despicable, but fairly presented as understandable. Ford is clear in pointing out that Emily has a minor criminal record (a DUI and a minor aggravated assault charge) that prevents her from being employable, and about $70,000 of student debt, which Emily notes is steadily accruing interest.

Plaza’s performance is good and believable, if not landmark, but furthers her increasing reputation as an indie darling and capable actress. Theo Rossi, who plays Emily’s criminal inductee Youcef, also positions himself within the film nicely. 

Emily the Criminal naturally calls up memories of Breaking Bad, a television series in which a high-school chemistry teacher diagnosed with cancer becomes a meth lord in order to pay his medical bills and provide for his family. (Spoilers for Breaking Bad ahead) Anyone who’s seen the show knows that Walter White’s inevitable downfall was due to his obsession with power, but many internet users (many of them millennials) have pointed out that the real criminal is the American healthcare system. The entirety of Breaking Bad could have been prevented had Walter been able to pay his medical bills on a teacher’s salary. 

Even so, the show focuses on Walter’s own responsibility in the tragedy. Despite multiple similarities, Emily the Criminal does almost the opposite. Emily faces consequences for her actions, sure, but ultimately, the film is on her side. Like Walter White, Emily is smart and capable, and she uses those talents to succeed in an unsavory business practice. Unlike Walter White, Emily, and her actions are endorsed by her creator. Significant is the fact that, though Emily regularly performs credit card fraud, she nor the audience ever sees any of the real consequences to individuals, perhaps because there weren’t any severe ones. The scams are designed to steal things from businesses, and usually large ones. This idea also fits in with the anti-large corporation sentiment that often echoes through millennial/gen-z political ideology. Therefore, Emily’s crimes are largely against the system that failed her, rather than individuals, at least in the world of the film. 

This is not to say that Emily the Criminal encourages committing crimes, but rather it expertly captures the economic frustration many millennials feel. Ford highlights the ways in which Emily was figuratively cornered. The real strength of the film is that he does so using subtle exposition and Plaza’s peculiar sense of charm. Emily doesn’t always make right choices, but the viewer understands the situation perfectly. Thus, Ford removes generational bias and makes Emily’s situation perfectly comprehensible. 

It’s not exactly clear whether Ford meant the film to be an activist piece, or even one with generational sympathy. Emily the Criminal may have certainly been intended as a crime thriller, but the current political climate makes it impossible to perceive as such. Whatever Ford’s intentions, his understanding of visual languages makes this an interesting film at the very least, and an important one if enough eyes reach Emily.

Perhaps the problems of today will eventually be solved, and future generations won’t have to worry about student loan debt, etc. Perhaps the American government will never fix itself and subsequently implode. Most likely, it will be something in the middle. Despite an objectively terrible title (it really conjures up Emily in Paris, doesn’t it?) Emily the Criminal is a significant cinematic case study in the political psyche of today’s young people, and will remain such regardless of the societal tides. It’s certainly worth the watch.

Rating: 3.5/5