**Dying of political correctness** The new (and umpteenth) version of "Emmanuelle," directed by the young Audrey Diwan, presents itself to today's contemporary audience as a flagrant monument to modernity and sexual sophistication. Yet, the stench of today's sanctimonious puritanism manifests as an almost clinical panic toward the flesh, preferring instead a sterile staging that mistakes elegance for inhibition. This self-censorship is not limited to the visual; it also infects an absurd script through a domesticated, timid language that systematically shuns any hint of verbal naturalnes…
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