In attempts to modernize the iconic erotica "Emmanuelle," Audrey Diwan has stripped the story of its initial sexual fervor, leaving viewers lukewarm. Despite a setup to challenge patriarchal constructs through a contemporary feminist lens, Diwan's rework lacks the vibrancy and hedonistic thrill of the 1974 original.
Launching at this year’s San Sebastian festival, Diwan's "Emmanuelle" disappointed audiences. The film explores a woman's agency, mirroring her earlier work "Happening," which examined reproductive rights. Despite this, her take on "Emmanuelle" offers little insight on women, their sexuality, or womanhood itself.
Taking the story in a new direction, Diwan's Emmanuelle is now a professional woman globetrotting for work, replacing the character of Emmanuelle's husband. Expected sexual encounters are reduced significantly, draining the story of its tantalizing essence. Despite being energetically played by Noémie Merlant, the central character experiences far fewer physical liaisons, making her journey seem tedious and unstimulating.
Despite the drastic modernization of the narrative, the film maintains a significant focus on aesthetics, investing in interior design and lighting over character development and storyline. Potential empowering dimensions of the sexual restraint are undercut, and the film lacks an authentic female gaze in its depiction of erotic scenes. Disappointingly, the dialogues do not resonate, and the actors fail to communicate the inherent humor of the plot, leaving a palpable coldness throughout the movie.
Audrey Diwan’s "Emmanuelle" surprisingly refrains from using its erotic heritage effectively, resulting in a film that obscures, rather than illuminates, the complexities of female desire. Instead of an exhilarating and enlightening exploration of modern female sexuality, we are left with a stylized, chilly depiction of relationships and unfulfilled sexual tension. Much like the high-end, sterile environment that it puts on display, Diwan’s "Emmanuelle" leaves the viewers cold.
