San Sebastian: How Audrey Diwan’s ‘Emmanuelle’ Helped Noémie Merlant Rediscover Her Libido

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In this captivating conversation with the visionary French filmmaker Celine Sciamma, it becomes evident that her work is deeply rooted in amplifying voices that have been historically overlooked. Her dedication to empowering women and underrepresented individuals shines through in every frame of her films, making her a true champion for the female gaze.

Noémie Merlant found she had a lot in common with her character in Emmanuelle.

Her significant part in Audrey Diwan’s latest film, where she played the lead character, had such a profound impact on her that it encouraged her to reconsider her personal relationship with female pleasure. “Much like Emmanuelle,” the French actress shares with The Hollywood Reporter, “I was completely detached from my body.

Making its debut at the San Sebastian Film Festival on Friday evening, Emmanuelle has been generating talk due to its explicit material. Diwan’s film, featuring Naomi Watts (known for her roles in Mullholland Drive and Birdman), Will Sharpe (from The White Lotus) and Jamie Campbell Bower (famous for his work on Stranger Things), is heavily influenced by Emmanuelle Arsan’s erotic novel, and this eroticism definitely takes center stage in the production.

Emmanuelle embarks on a business trip to Hong Kong, where she’s associated with an upscale hotel chain. In pursuit of a missing sense of excitement, she explores sensual encounters with certain hotel guests. Among them is Kei (Sharpe), who appears to always stay just out of her reach.

In the portrayal of Merlant’s character, there is a quiet depth. She embodies a robot woman yearning for control over her sexual independence, yet discovers an emotional bond that transcends physical interaction altogether. In the following conversation with THR, Merlant shares her initial impressions of the script, the impact of France’s #MeToo movement on her performance, and if Merlant were a footballer, Cate Blanchett would be her equivalent to Diego Maradona.

First of all, I want to say congratulations on your film.

Thank you so much.

What was going through your head when you first read that script?

Upon initially perusing the script, it struck me as follows: “Wow, this appears to be a work delving into female sexual gratification, and at this moment, I find myself yearning for such an exploration.” Much like Emmanuelle, I had lost touch with my own body. Post the #MeToo movement, I found myself reflecting on years spent catering to others’ pleasure rather than my own. It was as if I said, “Ah, yes, I know that I am not truly content, that I lack a sexual desire.” As a 30-year-old woman, I have seldom engaged in erotic experiences or shared orgasms with others. This realization is tinged with sadness, which the script captures beautifully.

She assumes the responsibility. Emmanuelle, who functions much like a machine without feelings… She possesses an admirable self-reliance. Yet, she’s solitary. She manages her life effectively, but occasionally finds herself in a luxurious hotel where constant vigilance is required to ensure everyone’s immediate satisfaction. We shared a deep bond. And ultimately, she expresses her desires candidly and decisively: “Could you touch here? I need this. Could you adjust the pace?

In my experience, delving into the character of Emmanuelle truly aided me in understanding my own sexuality and my personal connection to sensuality.

As a gamer, stepping into the world of Emmanuelle felt like embarking on an exhilarating adventure. It shattered certain barriers within me, leaving me feeling bolder, freer, and empowered to express myself openly. This journey has paved the way for a life filled with discovery, following my heart’s desires, and embracing new experiences.

Did you find the graphic scenes in the movie overwhelming, or did they excite you? I was curious to know if you ever felt apprehensive about acting in a film that some might consider emotionally exposed.

I’m sensitive when it comes to playing authentic and emotional characters on screen, but I don’t feel exposed during sex scenes due to a respectful environment. With a strong concept, a supportive team, and a space that fosters respect and understanding, I can push myself as far as desired. This movie provided all of that, which made me feel confident rather than scared. Instead, I was thrilled! I had Audrey Diwan with an extraordinary vision, and a skilled crew behind me. We spent a lot of time rehearsing with the actors and an intimacy coach to ensure our actions were thoughtful and appropriate.

Following the #MeToo movement, some folks remark, “With intimacy coaches around, we can’t enjoy ourselves anymore.” I, for one, believe this sentiment is shared by a minority. Yes, they might feel their personal freedom has been curtailed, but for many of us, there’s an expansion of that very freedom. As Audrey so eloquently put it, and I couldn’t agree more, the creation of safe spaces allows for profound collaborations between people, including intimacy coaches. This collective effort opens up new horizons filled with unexpected discoveries because we have a multitude of minds contributing ideas.

As a fervent admirer, I’m curious about the #MeToo movement and its evolution. While it initially gained traction in the U.S., France seems to be taking the lead now, particularly at this moment. Audrey mentions that her film is an investigation into eroticism in the post-#MeToo era. What do you think she’s trying to convey through Emmanuelle?

Before any message, I think she wants it to be an experience of sensations. We’ve been fed so many images of sex, of nudity, of pornography, but in this patriarchal gaze completely dominated by violence. So she was trying to do a movie where we ask ourselves, “Is there still space for erotism and sensations in [women’s] lives?” She tries to make us take the time. Because erotism and sensation, I think, can grow when you are in the present moment. But to get to this place, it takes time. Same with the female orgasm. It takes time.

Diwan points out that just because a movie is feminist, it doesn’t exclude men from enjoying it. The hope is that both genders can find pleasure in watching the female protagonist, just as we’ve experienced emotions while watching movies about men. Essentially, he suggests that the concept of consent should be exciting for everyone involved, and this film demonstrates that through mutual respect, understanding, and enthusiastic participation – all elements that can evoke excitement in the viewer.

A key aspect that stands out in the movie is the extraordinary bond between your character and Will Sharpe’s portrayal of Kei. It’s fascinating to see how this relationship evolves, and it often challenges my expectations in unexpected ways, particularly towards the end of the film. I’m curious about your perspective on their connection.

For me, he was like a ghost sometimes. But I liked that he was a mystery, because most of the time it’s the woman who is the mystery in movies. I like the mirror between them, both are disconnected and don’t get pleasure. I like that you can still have a strong relation with someone without having sex. It’s not an obligation. This is the story I told myself with Kei: You represent, for me, the man who doesn’t fit the dominant dynamic of the male gaze. They will not have get pleasure if the woman doesn’t. He is also looking for equality and a real connection. It takes time for him, maybe at the end, after, he will have it again. But he is listening to her. I found it very poetic.

In films such as Portrait of a Lady on Fire, it seems you’ve truly excelled at showcasing women’s perspectives, often referred to as the “female gaze.” How significant was this aspect to you during production, and what impact do you think a film like Emmanuelle might have, given the extensive history of male-centric cinema?

In my personal journey, I strive to create room for more women, as well as for those individuals who may feel marginalized or overlooked. This is not just about empowering women, but fostering a world where everyone has equal opportunities to thrive. Such actions make life more meaningful, and add an element of wonder and excitement to my experiences.

What was the atmosphere like during filming? With stars like Will, Naomi Watts, and Jamie Campbell Bower on set, it felt very British indeed! Are there any upcoming English-language projects that interest you?

I’m drawn to the idea of working in English since it’s a language I deeply appreciate. The fact that numerous movies are produced in this language opens up a multitude of opportunities. This includes the chance to collaborate with exceptional directors and actors whose work I admire, as well as the possibility of encountering unique, exciting projects. However, I also aspire to work in other languages as well.

Is there any language in particular that you would love to do a film in?

Japanese or Korean.

Why?

Because I watch a lot of movies in Japanese and Korean, and I love the language, the culture.

You must have loved shooting in Hong Kong.

Yes! It’s amazing. I thought I would not like Hong Kong, and I loved it.

How come you thought you wouldn’t like it?

I’m not certain because it seemed overwhelming, but in reality, there are beautiful beaches, serene natural spaces, and incredibly kind locals.

Have you collaborated with numerous talented individuals during your career? If so, is there a particular director or performer that you’d be thrilled to share the screen with in the future?

I have a strong affection for Yorgos Lanthimos, Phoebe Waller-Bridge, Nicole Kidman, Jane Campion, and Justine Triet. These creators hold a special place in my heart.

I’d like to inquire about the experience of collaborating with Cate Blanchett, who is being honored with the Donostia Award at this year’s San Sebastian Film Festival in Tár. What was it like working with her?

As a gaming enthusiast, meeting this actress felt like scoring a goal with Maradona’s ‘Hand of God’ if I were a footballer. Working as an assistant in ‘Tár‘ allowed me to witness her exceptional talent up close. Every scene she performed was filled with such passion and dedication that it left me spellbound. People often ask me, “How is she so good?” but there’s something inexplicable, a certain magic, that sets her apart. She was incredibly kind too. There was one particular scene where we had to hug for the camera, and she made sure to hide her head so I would be the focus. It was an adorable gesture.

That is very cute. And last question, which is simply: What’s on the horizon for you?

My movie, The Balconettes, is out soon. Then there is the Pietro Marcello film [Duse] which will be out soon. There are two more movies I can’t say anything about. [Points.] That’s my agent. [Laughs.]

Check out THR’s review of Emannuelle here. It’s been reported that Neon is considering acquiring U.S. distribution rights for the film. Emmanuelle will make its theatrical debut in France on September 25, distributed by Pathé.

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2024-09-22 19:25