I watched the new film “Emmanuelle”. The original was banned in the USSR, what has changed now?

This week, Russian viewers got the chance to see a remake of the classic Emmanuelle, a cult erotic film that revolutionized the idea of ​​freedom and pleasure in the 70s and 80s.

The original 1974 film with Sylvia Kristel made a lot of noise, becoming a symbol of the sexual revolution. The new film could become a reason for nostalgia, and for young viewers they wanted to know what was so exciting in the minds of their parents. But is there anything that makes this new version worth it?

We went to the premiere and were horrified. The film is, of course, beautiful, but there is a nuance.

Hollywood can’t make erotic films anymore

What is the film about?: in the updated version directed by Audrey Diouane, the main character Emmanuelle is not the wife of a diplomat, but a luxury inspector. Her work took her to the Hong Kong area, where she recently worked in a hotel while exploring her emotional emptiness.

Once upon a time, erotic thrillers were recorded as part of cinema, causing the sounds to evoke a variety of emotions, interest and even controversy. The cult classics “Nine and a Half Weeks,” “The Main Event,” and “Body as Evidence” offered not only sensual scenes, but also intense plots, deep characters and powerful chemistry between the characters. They were brave and were not afraid of the voices in response – admiration, condemnation or even embarrassment.

Modern Hollywood seems afraid to make erotic thrillers, fearing criticism for not being progressive enough or being too explicit, giving way to politically correct stories where sensuality is relegated to the background. But the problem is not even in the genre itself, but in how it is presented.

Films of yesteryear have skillfully struck the balance between sexual provocation and impact, creating works that remain in the minds of audiences.

Even when Hollywood tried to bring back the genre, the results left much to be desired. For example, 50 Shades of Gray may have offered only a vague plot, but had several memorable scenes and a great soundtrack. These elements, although superficial, worked to create a certain mood.

In the new remake of Emmanuelle, there are no cool passionate scenes, no strong script, or even musical accompaniment that could enhance emotional perception. First things first.

What’s wrong with the new film “Emmanuelle”

The main problem of the new version of Emmanuelle is her sterility and absolute lack of life. Where the viewer expects sensuality, tension and emotional impact, what he gets is immaculate but empty shots that are more reminiscent of a catalog of interior design.

Audrey Diouane devotes less time to independent story and greater attention to visual style, creating an image that in any frame looks like an advertisement for a luxury hotel.

Everything is perfect here: soft light, smooth lines, the shine of luxurious interiors. However, there is not an iota of life in this confidence. Interiors become the main characters of the film, displacing their people. Even the sex scenes, which should be the focus of the plot, are devoid of sensuality and look staged, as if the actors were afraid to touch each other. Sharon Stone would look at such people with contempt on stage.

The story, which could have been a deep exploration of female desire through a series of episodes, is neither dramatic nor emotional. The storyline with Margot, the hotel manager, played by Naomi Watts, feels like a poor attempt at adding conflict. Emmanuel, at the direction of his company, must find a reason to portray Margot, but this task remains on the margins of the narrative. There is virtually no tension between the two heroines, and their interactions are limited to superficial dialogues.

Emmanuelle herself (Noémie Merlant), despite her strong performance, also leans towards this visually flawless but emotionally empty world. Her attempt to find herself through sexual experimentation seems mechanical. A lot of questions arise.

Ditching Léa Seydoux feels like a missed opportunity

It is known that the role of Emmanuelle was originally conceived for Lea Seydoux, an actress who became the basis for the embodiment of traditional, strict and emotionally rich images. Her roles in films such as Blue is the Warmest Color and The Life of Adele were not only memorable, but defined the intimate drama genre. Those who have seen these films will hardly be able to forget some of their scenes.

Seydoux creates the most subtle friends on screen, combining sensuality and emotional openness. Her heroines are always multi-layered: behind every look and movement lies a story, open or obvious pain, internal conflict. Even in the rather flat Bond story.

Seydoux has a fearless outfit for such roles. She knows how to paint sensual scenes so that they become part of the story, and not just a provocation. Seydoux’s heroines always look changeable, even if they live in difficult or unusual circumstances. In her performance, Emmanuel was able to create that balance between brilliance and inner drama that the film did not preserve.

The heroine, Noémie Merlant, seems not only lazy, but also devoid of any motivation. The gaze, constantly directed into the distance, seems to tell the viewer: “I don’t know why I’m here.”

Her determination may have been intended as part of the image of a woman coming to find herself. But instead of arousing sympathy or interest, this tone makes the heroine flat and boring.

Luxurious, no-nonsense packaging you can safely skip

If you were hoping that the new film Emmanuelle (2024) could recapture the magic of the original, deliver a sensory adventure, or even offer a modern take on a classic story, prepare to be disappointed. Audrey Diouane’s picture is the epitome of everything a film about sexual liberation should not be: cold, sterile and completely devoid of emotion.

Eroticism is the central theme of Emmanuelle’s story, but here it is reduced to formal, superfluous scenes of life. Even moments that should be tense or provocative cause boredom. We made it.

If you like perfectly framed shots, luxurious interiors and don’t expect any plot or emotions from a film, you might be interested. However, if you are looking for a deep story, sensuality or even sincerity, then the new “Emmanuelle” is definitely not for you.