SYLVIA KRISTEL and CATHERINE RIVET are photographed together at extraordinarily close range in this intimate black-and-white Paramount publicity image from Emmanuelle 2 (1975). Their faces and overlapping figures occupy almost the entire composition, eliminating virtually all background detail and concentrating attention on expression, profile and physical proximity. Kristel reclines with her face turned upward while Rivet leans into the frame above her, their contrasting angles creating a flowing diagonal composition. Bare arms and shoulders form additional visual lines around the two faces, while the soft tonal treatment of skin, dark hair and shadow gives the photograph a distinctly sculptural quality. Rather than depending upon setting, costume or elaborate production design, the image derives its impact almost entirely from the closeness of the two performers and the precision of the photographic framing.

The unusual crop is especially effective. Kristel’s face anchors the lower center of the photograph, her closed eyes and upward profile contrasting with Rivet’s downward position above her. Very little visual space separates the two women, producing a tightly controlled study of the characters rather than a conventional full-scene publicity still. For collectors seeking Sylvia Kristel Emmanuelle 2 photography, this image is particularly distinctive because it pairs Kristel with Catherine Rivet and focuses so completely on their screen relationship.

Directed by Francis Giacobetti, Emmanuelle 2 was produced in France in 1975 under the original title Emmanuelle: L’antivierge. Kristel returned as Emmanuelle, with Umberto Orsini as Jean, Frédéric Lagache as Christopher and Catherine Rivet as Anna-Maria. Contemporary and current film records confirm Giacobetti as director and Rivet as Anna-Maria, while Robert Fraisse served as director of photography and Francis Lai composed the music.

The film continued the international series begun with Emmanuelle in 1974, again placing Kristel at the center of a story built around relationships, sensuality and travel. Much of the narrative unfolds after Emmanuelle rejoins Jean in Hong Kong, where Anna-Maria becomes an important character in her social circle. The picture was also known in the United States as Emmanuelle: The Joys of a Woman. Paramount Pictures handled its American theatrical release and promotion, a connection also reflected in surviving U.S. Paramount publicity material.

For collectors, the photograph has value beyond the film’s subject matter because it represents the carefully controlled publicity photography associated with one of the most internationally recognizable European screen stars of the 1970s. Kristel’s identification with the Emmanuelle series became a major element of her screen career, while Rivet’s Anna-Maria is specifically associated with this installment. The surviving Paramount identification for this photograph, EM-11-11, further distinguishes it as a documented publicity image rather than an unidentified glamour portrait.

Carefully restored from historic photographic source material and professionally lab-developed, this museum-quality photograph is presented uncropped, preserving the complete image area contained in the source. Restoration recovers fine facial detail, individual strands of hair, subtle skin tones, shadow transitions and the delicate tonal separation between the overlapping figures while retaining the softness and character of the original black-and-white photography. The finished photograph contains no AI-generated image content.

A visually concentrated and immediately recognizable image of Sylvia Kristel and Catherine Rivet, this Paramount publicity photograph offers collectors an intimate character study from one of the defining European film series of the 1970s.