“Emmanuelle,” along with “Last Tango in Paris,” were two symbols of soft-core erotic cinema that broke box office records in the 1970s.
The remake of the erotic myth of the 70s premieres in San Sebastian, “Emmanuelle”, which, after being screened, will answer the questions of how much of that paradigm of the woman as an object has a place in today’s world or if it really fulfills the promise of its director, the French woman Audrey Diwan, to explore pleasure in the post-Mee Too era.
“Emmanuelle”, with Sylvia Kristel, along with “Last Tango in Paris” of Bernardo Bertolucci, They were two symbols of soft erotic cinema that broke box office records in Europe in both “Emmanuelle” became a sociological and media phenomenon. Starring Sylvia Kristeltransformed those wide, rounded wicker chairs into fascination and a best-seller thanks to the movie poster. That film triggered the first scene on the big screen of one of the most repeated fantasies: the sexual act in the narrow bathroom of the airplane.
A tale of revisited aesthetics and erotic traits that was repeated and copied over time, although never surpassed in the imagination of those who saw it for the first time. Therein lies its crucial historical impact, as it allowed sexual acts to be seen in every atypical setting imaginable, such as the luxurious locations in Bangkok. Ahead of its time, it broke sexual taboos, when this imagery was only permitted in so-called XXX cinema.
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“Emmanuelle” It was released with complete normality in the world, except in the Franco dictatorship, and was censored in Argentina by the entity that governed the cinema in charge of Miguel Paulino TatoIt was seen clandestinely and allowed the general public to see what until then had been prohibited or limited to clandestine cinema.
The story of Emmanuelle, A young, newly married woman who travels to Bangkok to meet her husband, a French diplomat who claims not to be jealous, had a long and far-reaching impact, much more extensive than initially imagined. A series of films that are a clear example of conservative eroticism and that today can be seen as the objectification of the female body, very much at odds with feminist currents.
In the 21st century, approaching again the character created by Arsan should be thought of as reinvention. And not only because of everything that happened after MeToo, but because that cinema aimed only at the voyeuristic gaze of a heterosexual man seems out of fashion today. Directed by Audrey Diwanhis previous film, “The Event,” adapted the novel of the same name by Annie Ernaux about the difficulties a young woman faces in obtaining an abortion in 1960s France.
Source: Ambito
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