Dutch actress Sylvia Kristel passed away last October at the age of 60, which is why the January B to Z at the Cinematek would like to offer a posthumous tribute in her honor.

Any proper homage would have to include "Emmanuelle", the quintessential French soft erotic movie that won the actress international fame, not to mention the lust and attraction of countless men (and women) despite the fact that, at the time, Kristel was with the love of her life: Flemish literary agent Hugo Claus. She was only 22 years old and just crowned Miss TV Europe when her role as Emmanuelle catapulted her as an icon of the sexual revolution. Her unusual beauty didn't fit in with genre's "busty bombshell" norm at the time, but she possessed a natural sex appeal that many women envied. Prior to the advent of video, "Emmanuelle" was able to branch out of the limited network of theaters specialized in erotic cinema into the mainstream, exceeding 350 million viewers worldwide and screening for more than 10 years in Parisian movie theatres, lending itself to all kinds of rip-offs ("Black Emanuelle" [sic]) and sequels.

The second film of choice for this tribute is the obscure and underrated "The Margin" (AKA "The Streetwalker"), by Walerian Borowczyk. With Kristel in the cast and the alternative title "Emmanuelle '77", one could easily believe the film was headed straight for the soft-core film market. Yet the emphatically dark and surreal atmosphere quickly sets it on another course. Borowczyk already made a name for himself with other disturbing films such as "Goto, Island of Love" and "Blanche". The bold eroticism and baroque imagery of "Immoral Tales", and the highly controversial "The Beast" also did their part in alienated Borowczyk from the mainstream. "The Margin" is therefore his final attempt to connect with a broader public. The story of a good family man, played by Joe Dallesandro ("Flesh for Frankenstein"), who goes to the city on business and beings an obsessive relationship with a prostitute (Kristel's favorite role according to her autobiography) is nothing but an excuse to direct a strange, enigmatic film enhanced by amazing stylistic tricks and an incredible soundtrack with all the hits of the 70s (10cc, Elton John, Pink Floyd).