{"id":7975,"date":"2024-09-20T08:35:38","date_gmt":"2024-09-20T08:35:38","guid":{"rendered":"https:\/\/amnewsworld.com\/?p=7975"},"modified":"2024-09-20T08:35:38","modified_gmt":"2024-09-20T08:35:38","slug":"emmanuelle-director-audrey-diwan-shares-the-secrets-behind-her-erotic-drama-from-fake-orgasms-to-the-spirit-of-wong-kar-wai","status":"publish","type":"post","link":"https:\/\/www.amnewsworld.com\/fi\/emmanuelle-director-audrey-diwan-shares-the-secrets-behind-her-erotic-drama-from-fake-orgasms-to-the-spirit-of-wong-kar-wai\/","title":{"rendered":"\u2018Emmanuelle\u2019 Director Audrey Diwan Shares the Secrets Behind Her Erotic Drama, From Fake Orgasms to the Spirit of Wong Kar-wai"},"content":{"rendered":"

Opening up this year\u2019s\u00a0San Sebastian Film Festival,\u00a0Audrey Diwan<\/a>\u2019s \u201cEmmanuelle<\/a>\u201d marks an unexpected follow-up to her Golden Lion winner \u201cHappening\u201d \u2013 at least on paper, anyway.<\/p>\n

If anything, the filmmaker followed a similar line, using a literary adaptation to emphasize sensorial experience, in this case the evasive quest for physical pleasure. \u201cThe project was one of renewal,\u201d Diwan tells\u00a0Variety<\/em>. \u201cReviving sensations then sharing them with the audience.\u201d<\/p>\n

 <\/p>\n

Updating the 1967 novel from Emmanuelle Arsan, the latest version imagines a thirtysomething Emmanuelle (Noemie Merlant<\/a>) as a kind of leisure quality control inspector, sent to stress test a Hong Kong luxury hotel run by Naomi Watts and haunted by a mysterious guest played by\u00a0Will Sharpe<\/a>.<\/p>\n

 <\/p>\n

And though centered on pleasure, the film often sees those needs unmet, focusing as much on frustration as on elation. \u201cPleasure, and the pursuit thereof, should remain a mystery,\u201d says Diwan. \u201cSo I meant to explore the subject from my perspective without giving any universal answer. As every woman knows, pleasure comes with a very personal definition.\u201d<\/p>\n

 <\/p>\n

How did you decide on this project to follow-up \u201cHappening?\u201d<\/strong><\/p>\n

On a very personal level, I\u2019m wary of comfort. My creative drive runs on passion and fear \u2013 things that push me to devote three years to a project. So I wasn\u2019t immediately convinced when my producers proposed \u201cEmmanuelle.\u201d I hadn\u2019t seen the original film \u2013 at least, not in its entirety \u2013 but I found the source novel fascinating. Two-thirds of the way through, the narrative stops to give way to a near-100 page conversation about the nature of desire. That got me thinking: I wondered if eroticism could still be a relevant narrative engine, and asked how these themes from 1967 might still resonate. Could these questions be translated into contemporary cinematic language?<\/p>\n

 <\/p>\n

How so?<\/strong><\/p>\n

Eroticism is fundamentally about the frame \u2013 about the tension between what you see and what you don\u2019t. Back in the 70s, the desire was to show more, which is what made the first film so successful. Except, I felt what stayed hidden was more interesting \u2013 I thought to push that tension by asking the viewer to engage actively with the film and to collaborate with the story. But even that wasn\u2019t enough to justify the commitment, not until I thought of this idea of a woman who can no longer experience pleasure going on a journey to recover it. [And after \u201cHappening,\u201d] I said to myself, if I can depict pain, maybe I could do the same for pleasure.<\/p>\n

 <\/p>\n

How did you make this world your own?<\/strong><\/p>\n

The film is more about a relationship with the world than just a relationship with the body. By taking \u201cEmmanuelle\u201d and using it as a vessel\u2014setting aside previous portrayals\u2014I aimed to present a contemporary view, focusing not on a young ing\u00e9nue but on a 35-year-old professional and building from there. That kind of woman faces different set of expectations, a social pressure to become her \u2018best self\u2019 by taking advantage of everything, seeking new sights or experiences that ultimately tell the same story. You\u00a0must<\/em>\u00a0enjoy yourself and you must achieve \u2013 and to succeed you must perform that enjoyment. That becomes quite exhausting, so [co-writer Rebecca Zlotowski and I] imagined a process letting go, opening a window, taking a deep breath, and shedding those dictates.<\/p>\n

 <\/p>\n

Why set the film within a luxury hotel?<\/strong><\/p>\n

A luxury hotel is a dizzying place, as we realized while filming. The smell, the music, everything is eternal and unchanging. If something moves, it returns to its original place the next day. There\u2019s a kind of vertigo in this eternal present\u2014a seductive but sterile atmosphere. Chaos is rare, and even when it occurs, it\u2019s quickly smoothed over. Emmanuelle herself becomes an instrument of this world. She works in quality control, ensuring that guests\u2019 experiences are as pleasurable as possible. But she knows that these experiences are artificial, part of a d\u00e9cor.<\/p>\n

 <\/p>\n

Both the setting and the presence of Will Sharpe call to mind \u201cThe White Lotus.\u201d<\/strong><\/p>\n

Yes, it\u2019s funny how many films and shows explore this theme. I can\u2019t speak for others, but \u201cThe White Lotus\u201d certainly plays with the same idea of appearances and individuality, exploring what lies beneath the surface. The hotel environment creates social distance, and everyone wears a kind of armor. There\u2019s a distinction between the public self and what happens behind closed doors, while the place tells a story of modern loneliness. We encounter people, but don\u2019t truly meet them. The hotel promises something exotic, but in a way that doesn\u2019t involve truly engage with the world.<\/p>\n

 <\/p>\n

Many of the film\u2019s intimate scenes find Emmanuelle alone. Why focus on a more onanistic form of expression?<\/strong><\/p>\n

That\u2019s also a reflection of this empty relationship with the world. People long to rebuild connections, because to find real pleasure you must first leave your solitary bubble and take real interest in others. In the end, I wanted the film to explore how artificial pleasure can feel stifling. At some point, you want to break free from the decor, to leave the hotel where every interaction is codified and written in advance, a place with such little imagination that there\u2019s no room for fantasy. That\u2019s the moment I wanted to highlight\u2014the desire to escape and breathe after feeling confined.<\/p>\n

 <\/p>\n

The film is not a direct feminist revision \u2014 as the French press has oddly implied \u2014 nor is it bluntly carnal.<\/strong><\/p>\n

 <\/p>\n

French journalists often describe\u00a0any<\/em>\u00a0questioning of female pleasure as feminist. In fact, the 1970s \u201cEmmanuelle\u201d was described as feminist for exactly the same reason! Obviously, the name \u201cEmmanuelle\u201d has strong connotations, and those who already know my work come in with certain expectations, but I didn\u2019t want to make a film that simply overturned previous codes. That felt a bit simplistic, and would have been such a limiting experience.<\/p>\n

I also didn\u2019t want to limit the film\u2019s eroticism to a few sex scenes. Then I\u2019d really feel like I was making a bad sports movie, you know? Eroticism, for me, is an atmosphere. It\u2019s about filling the frame with surprise and desire. I rewatched Jean Eustache\u2019s \u201cThe Mother and the Whore\u201d when writing and realized how erotic dialogue can be. Even something as simple as a storm, when it\u2019s sensorial and insinuates itself into a place that claims to be perfect, can provoke those sensations.<\/p>\n

 <\/p>\n

Given the setting and the narrative of prolonged flirtation, a certain Wong Kar-wai comparison comes to mind.<\/strong><\/p>\n

That\u2019s for sure. Whenever we ask people to name an erotic film, \u201cIn the Mood for Love\u201d comes up a lot, whereas it\u2019s about people bumping into one another and brushing up against each other in corridors. And I love that definition of eroticism! Besides, when you\u2019re in Hong Kong, you simply cannot fight that reference.<\/p>\n

In fact, for a very long time, I couldn\u2019t get to Hong Kong because Covid restrictions. So I scouted a hotel on the Internet, and decided that\u2019s exactly where I wanted to shoot. And then, once I could finally do some in person scouting, I saw 40 more places, but stuck with one I discovered online. And one day, I met the hotel\u2019s decorator, and he told me that he had decorated the hotel with \u201cIn the Mood for Love\u201d in mind. Somehow, the influence was unavoidable, and we didn\u2019t try to avoid it.<\/p>\n

 <\/p>\n

\n

How did you approach the film\u2019s more intimate moments?<\/strong><\/p>\n

We\u2019re working on something that can\u2019t be seen. The most sincere, uncontrollable, and difficult-to-show physical tic is the orgasm. And yet, this female orgasm is very often represented \u2014 and No\u00e9mie and I spoke of this a lot \u2014 in ways that wouldn\u2019t emerge from a woman who had actually experienced a real moment of pleasure. Having to represent this moment is very complicated, especially because, as an actress, No\u00e9mie would be simulating something that couldn\u2019t resemble a fake orgasm.<\/p>\n

We sought to get away from previous representations, while making something that was false ring true, and the process was exhausting. We shot take after take all night long, without ever feeling like we\u2019d gotten to the right place. And then, with exhaustion came inspiration. No\u00e9mie noticed her body going slack, and she used that. With fatigue, at some point, something happens that can\u2019t be measured or prepared\u2014a sigh and a smile.<\/p>\n

 <\/p>\n

How did you and Merlant engage the subject?<\/strong><\/p>\n

We discussed the culture of the female body in images, as women are often taught to present themselves for the gaze. In a way, this involves making a spectacle of the body, and we tried to work against this idea. No\u00e9mie seeks to explore the character\u2019s sensations, emotions, and internal experiences rather than displaying her own. With Laurent Tanguy, the cinematographer, we aimed to capture the image without the camera becoming intrusive. The goal was to reverse the traditional dynamic between the camera and the actress, allowing the actress to explore and research her body while the camera questions and interacts with her.<\/p>\n<\/div>\n

<\/div>\n
\n

Does working with an actor who also directs affect your on-set relationship?<\/strong><\/p>\n

Yes, it does. In fact, both No\u00e9mie and Will have directing experience, so we all had a very interesting collaboration, with many conversations about framing. The two of them intuitively understood both sides of the camera, and they shared their gaze with mine. It was a fascinating exercise.<\/p>\n

No\u00e9mie began her career as a model, so she really understands the frame and her body within it, and is deeply interested in the subject, as reflected in her own film, \u201cThe Balconettes.\u201d \u00a0Focusing on these questions liberated her; she\u2019s very free because she knows exactly how she wants to portray the body.<\/p>\n

Will is Anglo-Japanese, and he wanted to his work on his Japanese roots here. He\u2019s just as thoughtful about representation. My casting director hinted that we would get along, but wouldn\u2019t say anything more. So then when I finally met him, he was so excited to share that he found himself home with this kids on New Year\u2019s Eve, and decided to watch \u201cHappening\u201d once the clock struck midnight. He said it was a sign that he started the year thinking about these questions!<\/p>\n

\n
\n
\"\"<\/div>\n<\/figure>\n<\/div>\n<\/div>\n
<\/div>\n
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Opening up this year\u2019s\u00a0San Sebastian Film Festival,\u00a0Audrey Diwan\u2019s \u201cEmmanuelle\u201d marks an unexpected follow-up to her Golden Lion winner \u201cHappening\u201d \u2013 at least on paper, anyway. If anything, the filmmaker followed a similar line, using a literary adaptation to emphasize sensorial experience, in this case the evasive quest for physical pleasure. \u201cThe project was one of<\/p>","protected":false},"author":1,"featured_media":7976,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":{"twitter_1160854738579181570_1160854738579181570":"","facebook_3558452337540614_100649324928663":""},"rop_publish_now_history":[],"rop_publish_now_status":"pending","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[25,19],"tags":[],"class_list":{"0":"post-7975","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-americans","8":"category-entertainment"},"yoast_head":"\n\u2018Emmanuelle\u2019 Director Audrey Diwan Shares the Secrets Behind Her Erotic Drama, From Fake Orgasms to the Spirit of Wong Kar-wai | Amnewsworld<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.amnewsworld.com\/fi\/emmanuelle-director-audrey-diwan-shares-the-secrets-behind-her-erotic-drama-from-fake-orgasms-to-the-spirit-of-wong-kar-wai\/\" \/>\n<meta property=\"og:locale\" content=\"fi_FI\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Emmanuelle\u2019 Director Audrey Diwan Shares the Secrets Behind Her Erotic Drama, From Fake Orgasms to the Spirit of Wong Kar-wai | Amnewsworld\" \/>\n<meta property=\"og:description\" content=\"Opening up this year\u2019s\u00a0San Sebastian Film Festival,\u00a0Audrey Diwan\u2019s \u201cEmmanuelle\u201d marks an unexpected follow-up to her Golden Lion winner \u201cHappening\u201d \u2013 at least on paper, anyway. 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