Fifty years after the iconic Emmanuelle by Just Jaeckin, Audrey Diwan embarks on a remake with Noémie Merlant in the lead role. But let’s be honest: did this mythical erotic work really need to be dusted off? Isn’t it a bit like re-releasing an old vinyl hoping it becomes a hit in the 2020s? The film, released on September 25, 2024, presents itself as a modern reinvention with a feminist touch. The whole thing promises to be both “sensual” and “introspective,” although that word sometimes makes one think more of a TED talk than an erotic thriller.
Feminism in an erotic film? Really?
In 1974, Just Jaeckin stripped away censorship with Emmanuelle, a film far from being a masterpiece that nonetheless offered us exotic beaches, crumpled sheets, and Sylvia Kristel in the role of a young woman setting out to conquer her desires. Forty-five million viewers later, the impact is undeniable, but did we really need a 2.0 version to remind everyone that self-discovery hasn’t lost its exoticism?
In this remake, Audrey Diwan promises us an “active” exploration of female pleasure – because, apparently, there was a lack of consent and girl power in the ’70s. Which is obviously commendable, but couldn’t we have let Emmanuelle sleep peacefully in her wicker hammock? We know that “reinvention” often rhymes with “we need to justify the budget,” and if the film doesn’t transport you, at least you’ll know it’s for a noble cause.
Noémie Merlant, a “woke” Emmanuelle
First, it must be acknowledged that Noémie Merlant is a wise choice. Known for her intense performance in Portrait of a Lady on Fire, she takes on a role that, in 1974, mainly involved staring at the horizon with hair blowing in the wind. In this 2024 version, she is no longer an objectified woman being abused, but a professional in luxury hospitality in Hong Kong, of course. Because when you reinvent, you might as well go all out. Gone is the couple exploring their fantasies; here Emmanuelle is in search of a “connection with her body,” as if spa packages weren’t available in the ’70s.
Sex, but in thriller mode this time
Audrey Diwan takes a risky bet here: how to keep the erotic essence while avoiding clichés? Rather than multiplying explicit sex scenes, the director opted for more subtle moments, to the point where you sometimes wonder if you’re watching a film or just a remake of a moisturizer commercial.
The big innovation lies in the sound approach – yes, sound. Close-ups on the skin are accompanied by a “soundtrack” meant to make the viewer vibrate like never before. Imagine In the Mood for Love, but with more nudity and a soundtrack that rivals your Spotify relaxation playlists. Perhaps this is where the hidden genius of this version lies: if the film doesn’t move you, you’ll leave relaxed, like after an ASMR session.
But why remake Emmanuelle?
We live in a post-#MeToo era where redefining the role of female sexuality on screen is essential. And who are we to say that this shouldn’t be applied to Emmanuelle? But after fifty years, the question arises: does the remake really bring something new or is it just a stylistic exercise under the guise of modernity? For many, the original version was enough to satisfy their curiosity about French eroticism. For others, perhaps it’s an opportunity to witness a more engaged version. But one thing is certain: whether we like it or not, the very existence of this film will spark debate.
So if you’re wondering whether you should go see Emmanuelle 2024, the answer depends on what you’re looking for: if you’re in search of a sensory and subtle exploration of female pleasure, this film might be for you. Otherwise, you might as well rewatch the original and spend the evening watching curtains languidly flutter in the tropical breeze.