A modern take on ‘Emmanuelle’: A missed opportunity
Revisiting a classic with a contemporary lens
On paper, reimagining the 1974 softcore classic Emmanuelle with a modern feminist twist sounds like a bold and intriguing idea. The original film, directed by Just Jaeckin, is a cultural artifact of its time, emblematic of a certain liberated yet patriarchal view of female sexuality. However, the challenge lies in breathing new life into a narrative that, at its core, is rather flimsy. Audrey Diwan’s latest film attempts this feat but falls short, neither honoring the original’s spirit nor offering a fresh, substantive take on female desire.
A tepid start at San Sebastian
Opening this year’s San Sebastian festival, Emmanuelle was met with lukewarm reception. This is particularly disappointing given Diwan’s previous success with her Golden Lion-winning film, Happening, a poignant drama about reproductive rights. While both films explore themes of women’s agency over their bodies, Emmanuelle lacks the depth and insight that made Happening so compelling. The new film’s erotica is too tame to captivate even the most casual arthouse viewer, and its narrative is more akin to a high-end lifestyle commercial than a provocative exploration of sexuality.
A modern Emmanuelle: Career over marriage
In a bid to modernize the story, Diwan and co-writer Rebecca Zlotowski have made significant changes. The new Emmanuelle, played by Noémie Merlant, is no longer defined by her marriage but by her career as a quality control surveyor for a luxury hotel chain. This setting allows her to navigate a world of opulence with minimal actual work, always within reach of a high-end mattress. However, the most surprising change is the reduction in sexual content. This new Emmanuelle engages in sporadic, slow-paced encounters, often appearing more interested in maintaining six-star standards than in exploring her own desires.
A lack of substance and sensuality
Instead of the copious onscreen intercourse that characterized the original, the new film offers vast expanses of empty space. The filmmakers adhere to the time-honored tradition of scant plotting and superficial characterization, but without any sense of irony. Emmanuelle is introduced in the cushioned confines of a first-class flight to Hong Kong, where she engages in a wordless, efficient mile-high encounter with a stranger. This sets the tone for the rest of the film, where she engages in a protracted, unfulfilling mating dance with Kei, a cagey engineer played by Will Sharpe.
Missed opportunities for drama and intrigue
While Emmanuelle diverts herself with fleeting pleasures, including a three-way with fellow hotel elites and a brief encounter with a local escort, much of the film’s runtime is devoted to a dull subplot involving her performance evaluation of hotel manager Margot, played by Naomi Watts. This passive-aggressive girlboss duel never rises to the level of actual dramatic stakes, leaving viewers yearning for more engaging content.
A rare moment of excitement
In the absence of sensual spectacle, the film’s most engaging moment comes during a sudden tropical cyclone that disrupts the hotel’s smooth operations. This sequence gives cinematographer Laurent Tangy something visually compelling to shoot, breaking the monotony of buttery ambient lighting and pristine bedsheets. However, these moments are few and far between, and the film quickly returns to its state of unrumpled calm.
A failed attempt at empowerment
While there may be an intention to portray the modern Emmanuelle as a woman of control and discernment, this is undermined by a third-act quest for climax that feels outdated and clunky. The film’s sex scenes lack a female gaze, and the male form remains conspicuously unexposed. The dialogue, mostly in English, fails to capture the nuance of human interaction or the campy charm of softcore scripting. Merlant, far from her emotionally rich performance in Portrait of a Lady on Fire, struggles to bring any depth to lines like, “I got a whiff of his scent — a bit peppery.”
A cold, disengaged experience
Ultimately, Emmanuelle feels more like a state-of-the-art air-conditioned hotel than a steamy exploration of desire. The film’s disengaged tone and lack of dramatic stakes leave viewers cold, making it a missed opportunity to reimagine a classic with a contemporary lens.
For those interested in exploring the original Emmanuelle, you can find more information and the trailer here.
This article aims to provide a comprehensive and personal perspective on the latest adaptation of Emmanuelle, highlighting its shortcomings and missed opportunities. By integrating insights and reflections, it offers a richer reading experience for cinema enthusiasts.