Sylvia Krystels last hurrah as Emmanuelle? Well not so fast. Almost like in horror movies, the character of Emmanuelle is not going anywhere ... well as in away. Because she is going places (even space in the 90s and 00s), but that is not what we are talking about here.

But even Sylvia herself. While it could have been a nice goodbye (even if not a perfect one, concerning how the movie is, flaws and all) ... but she came back, even if it only was a small role in part 4. And apparently she also was in Part 7 (or 6? Not watched either, but I know she came back even if only was a cameo, cannot confirm that btw).

That being said, the first two movies became infamous because of the love scenes (let's call them that). I think the one thing that may stick into your mind is the scene on the beach ... that can be called sensual. Overall this tries to concentrate on relationships ... if the script was better, that might have actually helped. But as it is, this is neither as erotic (still a lot of nudity) nor as shocking as the movies that preceeded it.

Emmanuelle (Sylvia Kristel) and her husband (Umberto Orsini) now live in the Seychelles and continue with their polyamorous relationships. However, when a young director (Jean-Pierre Bouvier) has an affair with Emmanuelle, her husband at last displays jealousy.

The third Emmanuelle film offers more of the same, with a slight twist from the previous films in that their sexual liaisons show more relationship conflict and in that sense perhaps demonstrates a bit more normal human behaviour. Although there is still plenty of nudity, it feels less erotic in tone than the previous two films with a little more psychology behind it. Kristel meanwhile, seems bored with the role by now.

Emmanuelle (a typically captivating portrayal by the exquisite Sylvia Kristel) and her husband Jean (a likable performance by Umberto Orsini) continue with their open relationship. However, complications ensue after Emmanuelle falls in love with filmmaker Gregory (the handsome, but stolid Jean-Pierre Bouvier) and Jean feels jealous for the first time because of this.

Director/co-writer Francois Leterrier relates the touching and compelling story at a pleasingly languid pace, makes fine use of the gorgeous tropical Seychelles locations, brings an appealingly nonjudgmental attitude to the subject of casual sex, and manages to state a provocative central point on how even free love has its limits with ever resorting to any heavy-handed moralizing. A bevy of beautiful ladies provide substantial enticing eye candy: Besides the fantastically pulchritudinous Mrs. Kristel, we also have the foxy Olga Georges-Picot, yummy Charlotte Alexandra, slinky Caroline Laurence, comely Sylvie Fennec, and fetching Radiah Frye. The abundant tasty female nudity, Jean Badel's sumptuous widescreen cinematography, and Sergio Gainsbourg's frothy score all further enhance the lazily sensual mood. Great breathy theme song that's panted with arousing aplomb by Jane Birkin, too. A worthy closer.