In a 2007 interview, Sylvia Kristel talked about the impact of this film and how it became her seminal work: "'I can't say it's a brilliant film, really,' she admits. 'But it was the right time...It became like a monument in Paris. The Japanese were stuffed in the bus and then they were taken to the Eiffel Tower, Arc de Triomphe and Emmanuelle. In France, the feminists complained that Emmanuelle was a femme objet - an object of male fantasies. But the Japanese feminists were rather delighted with the film because they thought Emmanuelle was dominant, just because of this one scene where she climbs on top of her husband. That was the moment when all the Japanese women stood up and applauded.' Writing of her preparation for the role, Kristel rhapsodises that 'beneath the closed eyes of ecstasy will be born an unreal, intimate world of fantasy...I will send out contradictory messages, creating a fertile, unsettling, vast space in which every person, every memory, every desire will find its place.'

Film

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