As a film enthusiast and critic with a keen eye for detail, I find myself captivated by the unique approach taken by this creative team to bring “In the Mood for Love” to life in their hotel decor. The subtle nod to Wong Kar-wai’s masterpiece is not only a testament to the film’s enduring influence but also a reflection of the director’s thoughtful and introspective approach to storytelling.
Kicking off the 2021 San Sebastian Film Festival, Audrey Diwan’s “Emmanuelle” serves as a surprising sequel to her award-winning film “Happening”. On the surface, it may seem so, but let’s see what twists and turns await us in this new production.
Instead of directly stating it, the filmmaker opted for a strategy similar to the original, focusing on a literary translation to intensify the audience’s sensory immersion, particularly exploring the elusive pursuit of physical gratification. As Diwan shared with EbMaster, “The aim was essentially a rejuvenation. It was about reviving these sensations and then passing them onto the viewers.
The 2021 adaptation of the 1967 novel “Emmanuelle” presents a new interpretation where Emmanuelle, now in her mid-thirties (portrayed by Noemie Merlant), functions as a leisurely hotel inspector tasked with assessing quality, specifically for a high-end Hong Kong hotel. This hotel is managed by Naomi Watts and reportedly hosts an enigmatic guest, played by Will Sharpe, who adds a layer of mystery to the setting.
In this film, the focus on pleasure is undeniably present, yet it frequently falls short, delving just as deeply into disappointment as it does into exhilaration. As the movie’s reviewer, I can attest that Diwan posits, “Pleasure and the chase for it should remain enigmatic.” This film, in my opinion, endeavors to examine this topic from a personal standpoint without offering a definitive, all-encompassing response. After all, as any woman will tell you, pleasure carries a uniquely individual connotation.
How did you decide on this project to follow-up “Happening?”
Personally, I’m cautious about comfort, as my creativity thrives on passion and fear – emotions that compel me to dedicate three years to a project. Therefore, when my producers suggested “Emmanuelle,” I wasn’t easily convinced, since I hadn’t watched the original film in its entirety but found the source novel intriguing. The storyline takes an unexpected turn about two-thirds of the way through, pausing for nearly 100 pages to delve into a discussion on the essence of desire. This sparked a thought: could eroticism still serve as a potent narrative force, and how could themes from 1967 still resonate today? Could these ideas be reinterpreted in contemporary cinematic terms?
How so?
At its core, eroticism revolves around the contrast between what’s revealed and what remains concealed. In the 70s, the allure was in showing more, which made the initial film a huge success. However, I found that the unseen aspects were more intriguing. I wanted to amplify that tension by encouraging viewers to actively participate with the movie and contribute to the narrative. Yet, this wasn’t enough to warrant the investment, not until I conceived the concept of a woman who has lost her ability to feel pleasure embarking on a quest to regain it. [After “Happening,”] I thought if I could portray pain, perhaps I could do the same for pleasure.
How did you make this world your own?
The movie explores a character’s relationship with the world rather than merely her physical self. In reinterpreting “Emmanuelle,” I sought to offer a fresh perspective by focusing on a mature professional instead of a young debutante, using this foundation to develop the narrative. This type of woman encounters unique societal pressures to excel and indulge in every opportunity for novel experiences, which ultimately reinforce the same message: you should be constantly enjoying yourself and achieving success. However, this pursuit can become overwhelming. Thus, my co-writer Rebecca Zlotowski and I envisioned a story arc about releasing these expectations, opening up, taking a break, and discarding such demands.
Why set the film within a luxury hotel?
A high-end hotel seems perpetual and consistent during our filming experience, with an everlasting aroma, music, and decor. If anything shifts, it returns to its initial position the following day. There’s a sense of disorientation from this eternal present – an alluring yet cold ambiance. Disorder is scarce, and even when it arises, it’s promptly resolved. Emmanuelle, too, becomes a tool within this realm, focusing on quality control to maximize guests’ enjoyment. However, she acknowledges that these moments of pleasure are orchestrated, part of the hotel’s aesthetic.
Both the setting and the presence of Will Sharpe call to mind “The White Lotus.”
Absolutely, it’s intriguing to notice how numerous movies and series delve into this particular theme. In my opinion, “The White Lotus” shares the same narrative thread, delving into the concept of facades and uniqueness, revealing hidden truths. The hotel setting serves as a barrier, fostering a sense of detachment, and everyone seems to wear some form of protective layer. There’s a clear divide between the presented self and what occurs in private, with the establishment painting a picture of contemporary solitude. We encounter characters, yet fail to truly connect with them. The hotel presents an allure of the exotic, but it doesn’t necessitate genuine interaction with the world.
A significant number of the movie’s private moments feature Emmanuelle by herself. Why emphasize such a self-gratifying style of representation?
This vacant relationship mirrors a yearning to restore relationships with the world. People crave to reconnect because true joy comes from stepping out of isolation and engaging genuinely with others. Ultimately, the movie aims to delve into the suffocating nature of artificial pleasure. At some point, one yearns for liberation from the superficiality, to depart from the establishment where every interaction is scripted and predetermined, a place so devoid of creativity that it lacks space for fantasy. This is the moment I wanted to emphasize—the urge to break free and take a deep breath after feeling trapped.
The movie should not be seen as a straightforward feminist reinterpretation, contrary to what some French media have suggested, and it doesn’t present itself in an overtly sensual manner.
I frequently encounter the label of “feminist” when discussing any exploration of female pleasure, and it seems this was also applied to the 1970s film “Emmanuelle.” While the title “Emmanuelle” carries potent associations that might influence viewers’ expectations, I aimed to create a work that transcended conventional norms rather than merely flipping them. Such a straightforward approach felt too simplistic and would have resulted in a narrow viewing experience.
In addition, I didn’t want the film’s sensuality to be confined solely to explicit sex scenes. That would feel more like making a lackluster sports movie, you understand? For me, sensuality is an overarching feeling. It’s about creating an atmosphere that sparks curiosity and longing. I found myself revisiting Jean Eustache’s “The Mother and the Whore” during the writing process, and it reminded me how powerful dialogue can be in a sensual context. Even something as ordinary as a storm, when it’s vividly portrayed and seeps into an apparently perfect setting, can stir those emotions.
As a devotee, I can’t help but draw parallels with the cinematic mastery of Wong Kar-wai when considering the atmosphere and storytelling in this piece.
Without a doubt, many people often mention “In the Mood for Love” when asked to name an erotic film. However, it’s more about characters accidentally meeting and physically touching in hallways. I find that definition of eroticism intriguing! Moreover, it’s hard not to refer to this movie when you’re in Hong Kong due to its popularity.
For quite some time, Covid restrictions prevented me from traveling to Hong Kong. Instead, I found a hotel online that caught my eye, which is where I eventually decided to take my shots. Later, when I was finally able to physically scout locations, I discovered an additional 40 spots, but stayed committed to the one I’d found initially on the internet. One day, I met the hotel’s interior designer who informed me that he had designed the space with “In the Mood for Love” in mind. Somehow, the film’s aesthetic seeped into the design subtly, and we didn’t attempt to deviate from it.
How did you approach the film’s more intimate moments?
We’re dealing with a hidden aspect, which is the intense, unsuppressable, and hard-to-depict physical response known as an orgasm in women. However, this genuine female climax is frequently portrayed in ways that don’t resonate with a woman who has truly experienced such pleasure. Representing this moment is quite challenging, especially for an actress like Noémie, who must simulate something that can’t be convincingly faked as a fake orgasm.
In my pursuit, I aimed to step away from familiar portrayals, creating something that felt authentic despite being untrue, an endeavor that proved tireless. Night after night, take followed take, yet I never sensed we were on the right path. And then, as exhaustion set in, inspiration bloomed. Noémie observed her body growing lax, and she seized upon it. With fatigue came a moment of clarity—an unmeasurable sigh and smile.
How did you and Merlant engage the subject?
Instead of focusing on portraying the physical aspect of female characters as they’re typically expected to be depicted, we chose to delve into their feelings, sensations, and inner experiences. Rather than using the camera to display our own perspective, we aimed to collaborate with the actress, allowing her to investigate and understand her character while the camera responds and engages with her. With Laurent Tanguy as our cinematographer, we strived to capture images without the camera invading personal space or intruding on the actress’s privacy. This approach aims to subvert the traditional roles between the camera and the actress, enabling a more dynamic and interactive relationship.
Does working with an actor who also directs affect your on-set relationship?
Indeed, they do. Notably, both Noémie and Will have a background in directing, making our collaboration particularly engaging as we delved into discussions about framing. They instinctively grasped the intricacies of both sides of the camera, mirroring my perspective. It was an enlightening exploration for me.
Initially, Noémie embarked on a modeling career, which gave her an intimate grasp of framing and positioning her body appropriately. Her fascination with this subject is evident in her self-directed film, “The Balconettes.” Delving into these topics has granted her a sense of liberation; she is incredibly free-spirited as she clearly defines how she wishes to depict the human form.
Born of both British and Japanese heritage, Will felt drawn to explore his Japanese ancestry through his work. He’s always mindful of representation too. My casting director suggested we’d hit it off, but remained tight-lipped about details. So when I eventually met him, he was thrilled to tell me that he spent New Year’s Eve with some kids and decided to watch “Happening” as the clock struck midnight. He considered it a sign that he should ponder these questions in the coming year!
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2024-09-20 11:17