Emmanuelle will leave you flaccid
Film review
A modern reimagining of a series of sensational soft-core porn films from the 1970s with Hollywood talents such as Naomi Watts and Noémie Merlant attached is a concept that offers serious promise. This is director Audrey Diwan’s next cinematic vision after winning the Golden Lion for her highly impressive abortion drama, Happening (2021). Diwan insists her take on Emmanuelle, comes from the 1967 erotic novel rather than the film adaptations. She insists it’s not pornography she’s capturing but rather eroticism. The sad reality is this alternative vision of Emmanuelle doesn’t feel very erotic, and worse, fails to live up to its ambitious outset. Bagging one of the most prestigious prizes in cinema may have given the filmmaker creative freedom to explore this territory, but it feels wasted. If Happening represents an erection, then Emmanuelle will ensure flaccidity.
Merlant stars as Emmanuelle, who takes a business trip to Hong Kong to assess the customer experience at a high-end luxurious hotel run by Watts’ character, Margot. Before arrival, she seduces a fellow passenger into fucking her in the restroom of a plane. However, it’s not as eye-opening as a similar scene in the original 1974 film directed by Just Jaeckin where Emmanuelle and the passenger don’t even retreat to the restroom for privacy. They just do it among the other passengers whilst they sleep. Diwan takes no inspiration from Jaeckin, the exploration of sex is toned down to the point where it lacks any excitement.
Emmanuelle is somewhat sexy though. The characters are attractive, there is sex albeit feeling a tad stale. Diwan’s vision isn’t all bad. The aesthetic is extremely smart. There’s enjoyment in uncovering what this hotel offers, from a luxurious spa to a tranquil outdoor garden. The tour of the hotel is worth it, but the drama happening inside it is another matter. Even if there is a conversation about Wuthering Heights that leads to sex, the spontaneity of these moments isn’t exciting but rather something you merely observe. The most dramatic moment in the film appears when the hotel’s electricity goes off, leading to a long sequence of watching the characters adjust to a dark environment. But nothing dramatic happens as a result of the moment. It’s at this point where the whole experience feels a bit bizarre as if viagra couldn’t even cure it.
The main source of stimulation comes from the conversations between characters, where dialogue such as “I’m afraid, what a delicious feeling”, and “I build dams well knowing the ocean will end up winning” are at least antidotes to the dysfunction. You may put your hopes on Watts to enhance your experience, however, her character appears few and far between with little to no intrigue.
Following the bizarre lights-out sequence, there’s a mildly entertaining scene in which Emmanuelle rubs ice cubes on her body while taking photos of herself. However, the interest manages to perk up in the final act during the hunt for a secret club in the back streets of Hong Kong. And boy is it hidden. It’s on this journey that she engages in sex with someone unable to speak the same language. It’s by far the most interesting exploration of sex we’ve been offered by Diwan, and the most relative to Jaeckin’s vision. Just as Emmanuelle is about to climax, the film ends in anti-climax. Whether that was the intention I do not know. The character may feel satisfied but the same can’t be said for the audience. You’re better off visiting Jaeckin’s 1974 work which offers an experience far more interesting and intellectual. Who would have thought soft-core porn is sometimes the better offer for cinema.
Out in UK cinemas 17th January 2025.