★ 2 / 10
**Dying of political correctness** The new (and umpteenth)
Martin Oaks
**Dying of political correctness** The new (and umpteenth) version of "Emmanuelle," directed by the young Audrey Diwan, presents itself to today's contemporary…
**Dying of political correctness**
The new (and umpteenth) version of "Emmanuelle," directed by the young Audrey Diwan, presents itself to today's contemporary audience as a flagrant monument to modernity and sexual sophistication. Yet, the stench of today's sanctimonious puritanism manifests as an almost clinical panic toward the flesh, preferring instead a sterile staging that mistakes elegance for inhibition.
This self-censorship is not limited to the visual; it also infects an absurd script through a domesticated, timid language that systematically shuns any hint of verbal naturalness. Instead of calling a spade a spade and employing real, natural, lascivious, and uninhibited words like "pussy" or "panties," the film submerges itself in a tide of ridiculously squeamish euphemisms like "crotch" or "underwear," revealing a reverent fear of discomforting an audience whose tolerance level is already severely atrophied.
When contrasting this exercise in neurotic restraint with the authentic erotic cinema of the 1980s, the generational and artistic disconnect becomes unsustainable. In that golden decade, creators of the caliber of Jesús Franco, Bruno Mattei, Erwin C. Dietrich, Gerard Damiano, or Joe D'Amato conceived magnetic fictions where, even without the need to fall into explicit pornography, sex throbbed as an intrinsic driving force of the cinematic narrative.
Those directors and their casts maintained a tacit, brave commitment to the production; there was no blushing, no averted glances, but rather an honest surrender to the game of seduction within a fully erotic context that respected human nature. No one hid behind intellectualized discourses to justify the camera's timidity, because the body was not a taboo, but an anatomical and artistic truth.
Diwan's current version is nothing but another example of the refusal to progress or evolve artistically, as we all lock ourselves inside a bubble of political correctness and prudishness that ultimately suffocates desire. This "Emmanuelle" becomes the reflection of a society that has ceased to be free, a society that restricts itself and cowers back into its own shell, transforming the boldness of yesteryear into a cold, dispassionate, bureaucratic chore that transmits absolutely nothing.
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★ 4 / 10
This movie is very bad. It offers a
Ben G.
This movie is very bad. It offers a pretty strange view of sexual dynamics that doesn't really seem to be very egalitarian. It seems to indicate that rich and…
This movie is very bad.
It offers a pretty strange view of sexual dynamics that doesn't really seem to be very egalitarian. It seems to indicate that rich and beautiful people are superior to other people.
It also provides a view of five star hotels that seems like what a snob would create to describe what they think "regular" people think about luxury hospitality, as opposed to a view that more realistically depicts the fascinating world of high end luxury travel.
The White Lotus has its flaws but it does a much better job of fictionalizing five star travel. As an example.
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★ 1 / 10
Filme fraco, o roteiro é fraco, as cenas
thiago s
Filme fraco, o roteiro é fraco, as cenas são fracas, a história é fraca, o elenco é fraco, e ninguém ajuda a melhorar o filme, os personagens são fracos, e o…
Filme fraco, o roteiro é fraco, as cenas são fracas, a história é fraca, o elenco é fraco, e ninguém ajuda a melhorar o filme, os personagens são fracos, e o filme deveria ter cenas bem melhores e relevantes, para fazer o filme ser bom
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@stopdeletingme2 There's one extra scene at the 54 minute mark, it's Sir John 'pleasuring' a rent girl. It's irrelevant, boring and badly shot. (You can see the boom mic over the ponce's head!) The bluray 1080p doesn't have hard forced titles for the French language dialogue. The titles with the web release work... for 54 minutes.