SummaryWhile on business in Hong Kong Emmanuelle (Noémie Merlant) meets Kei (Will Sharpe), a man who constantly eludes her. Though she indulges in the many alluring distractions the city has to offer, she can’t shake their chance encounter. Will she submit to her basest desires to forge a deeper relationship?
Directed By:Audrey Diwan
Written By:Emmanuelle Arsan, Audrey Diwan, Rebecca Zlotowski
Emmanuelle
Metascore
Generally Unfavorable
35
User score
Mixed or Average
4.2
My Score
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Top Cast
Metascore
Generally Unfavorable
10% Positive
1 Review
1 Review
80% Mixed
8 Reviews
8 Reviews
10% Negative
1 Review
1 Review
Jan 17, 2025
67
I was surprised to find Emmanuelle lingered in the memory a lot more than any story about the brief rush of desire should.
Jan 17, 2025
40
The film is not wanting for alluring, dramatic situations, but the filmmakers seem at best haplessly blind and at worst blithely dismissive of their potential.
Jan 16, 2025
40
Laurent Tangy’s slick cinematography adds to the sense that we’re watching a luxe commercial. But for what? It’s impossible to figure out who this empty film is for or why it exists in the first place.
Nov 5, 2024
40
The result is an empty film about emptiness, and therefore doubly depressing.
Sep 24, 2024
40
Mostly Emmanuelle feels like a package and looks like packaged luxury, the kind that comes with money and not very much taste.
Sep 24, 2024
40
If it’s lucky, Emmanuelle might find an afterlife as a kind of Showgirls for its generation, a great-bad movie that’s undeniably craptacular yet strangely endearing, a shameful pleasure in every sense.
Jan 19, 2025
20
Diwan relocates the action to Hong Kong and remakes Emmanuelle as a glossy but dispiriting treatise on the emptiness of the corporate world, punctuated by lots of panting, lip-chewing abandon.
User score
Mixed or Average
17% Positive
1 Rating
1 Rating
50% Mixed
3 Ratings
3 Ratings
33% Negative
2 Ratings
2 Ratings
Jul 13, 2025
4
The supposed analysis of the character's loneliness dies in the void without analyzing much. Everything is so distant that the dramatic construction is compromised. "Emmanuelle" lost its sensuality, but didn't gain the intended depth. Nor did it lose the sophistication of a luxurious setting as tacky as its camera, which moves constantly but doesn't create anything particularly relevant. Noémie Merlant alone can't save a project without focus.
