Saga Erotica: The Emmanuelle Collection (4K UHD Review)

• Reviewed by: Tim Salmons
• Review Date: Mar 05, 2026
• Format: 4K Ultra HD

Director

Just Jaeckin/Francis Giacobetti/François Leterrier/Cesare Canevari

Release Date(s)

1974/1975/1977/1969 (December 9, 2025)

Studio(s)

Trinacra Films/Orphée Productions/Parafrance Films/Rofima Cinematografica (Severin Films)

• Film/Program Grade: N/A
• Video Grade: A-
• Audio Grade: B+
• Extras Grade: A
• Overall Grade: A

severinfilms.com

Review

The 1970s is considered the golden age for pornography, particularly since it became a more viable commodity with 1969’s Blue Movie, 1970’s Mona, and more infamously, 1972’s Deep Throat, among others. Certain sections of feminist groups and Christian moral crusaders were attacking these films outright, despite distributors and exhibitors raking in substantial money at the box office, giving birth to the idea of “porno chic.” No longer was pornography just a group of bachelors smoking cigars and watching stag films behind closed doors. Now it was becoming more common for couples to see these films, making them seem more like mainstream entertainment. In this atmosphere, there was an appetite for more story-driven erotica, and with the release of 1974’s Emmanuelle and its two official sequels, that need was fulfilled.

Producer Yves Rousset-Rouard became aware of the interest in erotic films, especially after the release of Last Tango in Paris, which arrived with its own set of controversies. After purchasing the rights to the novel of the same name, he hired French artist Just Jaeckin to direct. After extensive casting, Sylvia Kristel was chosen to be his lead, while Yves Rousset-Rouard, purportedly so taken with Kristel, was convinced that the film would be a success and immediately signed her for two sequels. He was correct in his assumption, and Emmanuelle was a smash all over the world, as was it sequels Emmanuelle 2 (aka Emmanuelle: L’antivierge and Emmanuelle, The Joys of a Woman), directed by Francis Giacobetti, and 1977’s Goodbye Emmanuelle (aka Emmanuelle 3), directed by François Leterrier.

In Emmanuelle, the titular character visits her diplomat husband Jean (Daniel Sarky) in Bangkok. Being more of a traditional person, she begins to experience new pleasures and has a sexual awakening with other lovers, ultimately transforming her into a freer sexual spirit by the end of the film. In Emmanuelle 2, she returns to her husband Jean (now played by Umberto Orsini) after having spent some time away, whereupon they begin a very loving but open relationship, sharing partners and encouraging each other to explore their own sexual avenues. In Goodbye Emmanuelle, their relationship becomes strained when she becomes infatuated with a new visitor, Grégory (Jean-Pierre Bouvier), leading to her decision to leave Jean for something more.

The original film was met with contention upon release, but was applauded by others for its portrayal of female sexuality. Some saw it as exploitation, others saw it as a commentary on women’s sexual freedom with no judgments, and others yet still see it as nothing more than the ultimate in filtering sexuality through the male gaze. The sexual freedom is much more prominent in the sequel, wherein Emmanuelle is completely set free for her own pleasures, regressing in the following sequel, deciding that she once again wants to devote herself to one person and not to someone who wishes to continue having multiple partners. In other words, these are complicated characters. It’s an evolutionary tale from film to film, with highs and lows abound. The second film is perhaps the sexiest and most intoxicating of the three, partially because there’s no conflict. Only those around Jean and Emmanuelle comment upon their lifestyle, but they defend themselves with an easygoing but intellectual sensibility. It’s partially why Goodbye Emmanuelle can feel disappointing, not just for its lack of eroticism in comparison to what’s come before, but also because this a happy marriage couple is suddenly torn asunder. Some find it refreshing and more grounded, while others bemoan the separation of the two characters they’ve gotten to know over the course of three films. It really does come down to one’s varying mileage.

Sylvia Kristel herself was always openly pleased and happy with these productions, becoming an international sex symbol in their wake. Her only real issue was with a rape scene during the final moments of the first film, while director Just Jaeckin was unhappy that a scene involving a showgirl performing a stage act in which she smokes a cigarette with her vagina was placed in the film without his approval. Krystel would appear one more time in the series with Emmanuelle 4 (not included in this release), but in that film, her character is literally transformed into another person, that of actress Mia Nygren. It’s a sort of passing of the torch, or in this case, allowing the series to continue without Kristel’s involvement. Meanwhile, Laura Gemser, who appears in one of the series’ more erotic scenes, would star as her own version of the character in Black Emanuelle (losing an “m” to legally differentiate itself), which became its own series enitrely. And in true European distribution tradition, other films began adding “Emmanuelle” to their titles, leading to all manner of confusion for those who might actually being paying attention.

Prior to all of this and years before the original Emmanuelle was even realized, another “adaptation” of the novel was made in Italy. Directed by Cesare Canevari, known mostly for the Western Matalo!, the Nazi exploitation film Last Orgy of the Third Reich, and the giallo Delitto carnale, 1969’s I, Emannuelle (aka Io, Emmanuelle and A Man for Emmanuelle) is less of an erotic fantasy and more of an exploration of one woman’s obsession with fulfilling a desire that can never be quenched. One might even call it experimental in that there isn’t much of a narrative, but more of a series of events as we witness Emmanuelle (Erika Blanc) wandering from one character and situation to the next in search of feeding an unquenchable desire that’s literally making her sick and nearly driving her mad. It’s by far the most interesting film in the set, simply for its almost quasi-hippie yet avant-garde quality. It also has almost nothing to do with the original novel (outside of its namesake), going its own way to explore a woman’s desperation for a fulfillment that will never come, from neither men or women. There’s also the backdrop of political strife as Italy was going through a period of domestic terrorism meant to inspire revolution from both the far-left and the far-right. These events are definitely lost on modern viewers outside of Italy, but in the context of what Emmanuelle is experiencing, it only adds to her inner chaos.

Many more Emmanuelle films would come, including several sequels to the original trilogy, as well as a modern re-telling, the aforementioned Black Emmanuelle series, and a myriad of spin-offs, rip-offs, and imitators. In truth, there was nothing ever quite like it and there probably never will be again, not in an age when almost anything and everything can be experienced at the touch of a button. It’s a much different world now, where going into a darkened theater to feel less repressed or to see something titillating doesn’t quite have the same weight culturally or socially that it used to. Of course, these films are now being re-examined in a much different light post #MeToo, and your enjoyment of them will depend upon how far you’re willing to go and how much you allow yourself to just experience something without any hint of prejudice. No one can be blamed for not doing so, but these films do exist and should continue existing like any others.

Emmanuelle was shot by cinematographer Richard Suzuki and camera operator Robert Fraisse, Emmanuelle 2 was shot by cinematographer Robert Fraisse, Goodbye Emmanuelle was shot by cinematographer Jean Badal, and I, Emmanuelle was shot by cinematographer Claudio Catozzo, all on 35mm film. Each film was finished photochemically and presented in the aspect ratio of 1.66:1, aside from I, Emmanuelle which was presented in 1.85:1. Severin Films presents all four films on Ultra HD with new 4K scans and restorations of their original camera negatives by StudioCanal (the first two approved by Robert Fraisse), graded for High Dynamic Range in HDR10, and encoded to dual-layered BD-66 discs. Both the original theatrical version and a new director’s cut version of Emmanuelle are included, the latter version removing the above-stated scene of the showgirl “smoking”, which director Just Jaeckin claims to have had no involvement in shooting and preferred that it be taken out of the film.

It’s a night and day difference from previous presentations on DVD and Blu-ray, which were scrubbed free of grain and detail with crushed blacks. In the case of I, Emmanuelle, it’s never been available in North America before on disc at all. These are highly organic presentations that are much more film-like, loaded with fine detail and bitrates that sit in the 70 to 90Mbps range. Images in the first film can be inherently soft and grain can be a little splotchy with some minor scanner noise, but everything is clean and stable with beautiful color and great contrast. The opening titles of the second film are a little rough, but everything clears up thereafter. It’s a clearer, more standard picture comparatively, although there’s an odd bit of flutter during the scene between Emmanuelle and Anna-Maria on the boat. The third film is much of the same quality, while I, Emmanuelle is just as organic, but with much more obvious leftover damage. Scratches, speckling, and staining are frequent with mild instability. The original elements were clearly not in the best shape, but like the other presentations here, it’s still very solid.

Audio for the first three films is included in French and English 2.0 mono DTS-HD Master Audio with subtitles in English for the French tracks and English SDH for the English tracks. For the final film, audio is included in Italian and English 2.0 mono DTS-HD Master Audo with subtitles in English for the Italian track and English SDH for the English track. Each film differs sonically much more so than their visual counterparts in terms of quality. For Emmanuelle, the French audio offers clean dialogue and great support for the score. The English track is flatter, but both options carry minor hiss. For Emmanuelle 2, the English track is more narrow, while the French track is wider with a very mild hiss and louder dialogue. For Goodbye Emmanuelle, the options are fairly equal in terms of how wide they are, with the French track having an ever so slightly flatter quality and a very mild hiss. As for I, Emmanuelle, the Italian audio is thinner, while the English is track contains more hiss during score and music. Both options have a fairly high yield of hiss, but the Italian track is the lesser of the two, while also containing a brief dropout at 10:56. Performance-wise, the original tracks are the way to go, though take note that for the English track, Sylvia Kristel is dubbed by Paulette Rubinstein, which will come into play in the extras.

The Severin Films 11-Disc Saga Erotica: The Emmanuelle Collection features four 4K Ultra HD discs, five Blu-ray discs, and two CDs in four black Amaray cases. Each insert features their respective French, Japanese, French, and Italian theatrical poster artworks, as well as double-sided CD soundtrack listings for Emmanuelle 2 and I, Emmanuelle. Alongside these is the 136-page booklet Emmanuelle: Queen of Eroticism containing the essays A Legacy of Lust by Todd Gilchrist; Emmanuelle 2, thoughts by Alex Cox; Emmanuelle: Erased Threefold by Camille Moreau; The Sounds of Seduction by Todd Gilchrist; The Sensuous Actress, an interview with Sylvia Kristel; The Sensuous Artist, artworks by Sylvia Kristel; The Sensuous Image, a gallery of promotional images; and a list of credits and acknowledgments. All of this material is housed in fliptop hardbox packaging. Severin is also offering a standard 3-Disc 4K Ultra HD release of the first film minus the other films and deluxe packaging. The following extras and audio tracks are included on each disc:

DISC ONE: EMMANUELLE (UHD)

• Audio Commentary with Elizabeth Purchell (Director’s Cut)
• French Trailer (HD – 1:02)

DISC TWO: EMMANUELLE (BD)

• Audio Commentary with Elizabeth Purchell (Director’s Cut)
• A Slightly Scandalous Character: An Interview with Actress Marika Green (HD – 21:35)
• Producing Emmanuelle: An Interview with Producer Yves Rousset-Rouard (HD – 29:51)
• Filming Emmanuelle: An Interview with Cinematographer Robert Fraisse (HD – 16:19)
• Fabric & Fantasy: Emmanuelle’s Costume as Character Development (HD – 14:06)
• The Channel: Liane Curtis on Dubbing Artist Paulette Rubinstein (HD – 14:09)
• Interview with Marayat Rollet-Andriane (aka Emmanuelle Arsan) (HD – 2:06)
• The Joys of Emmanuelle: Part One (SD – 16:39)
• French Trailer (HD – 1:02)
• US Trailer (SD – 1:59)

DISC THREE: BONUS DISC (BD)

• Signed, Emmanuelle Arsan (HD – 40:37)
• Interview with Director Just Jaeckin for FilmoTV (HD – 94:17)
• Emmanuelle: A Hard Look (HD – 47:43)
• Emmanuelle in Ontario (HD – 13:34)

The audio commentary with film historian Elizabeth Purchell plays only over the director’s cut of the film. In it, she examines the history of the original novel, its author(s), and its content versus what wound up in the final film; the film’s controversial portrayal of Thai people and sexual assault; the atmosphere surrounding the release of the novel and the film; other erotic films that came before and after; the chaos surrounding the film’s production; critical reactions to the film; its releases throughout the world; Emmanuelle Arsan’s reaction to the film; Parisian screenings of the film; and readings from Sylvia Kristel’s writings about her experiences.

In A Slightly Scandalous Character, actress Marika Green discusses beginning her career as a traveling model, spending time with Salvador Dalí, being cast in Emmanuelle, aspects of her character, working with Sylvia Kristel, her memories of the beauty of the film, the relationship between her and Emmanuelle’s characters, the film’s lack of influence on her career, and the film’s place in today’s climate. In Producing Emmanuelle, producer Yves Rousset-Rouard talks about working in commercials before moving to film, discovering the Emmanuelle novel, meeting Emmanuelle Arsan and her husband, his plans for the film, meeting and hiring Just Jaeckin, discovering Sylvia Kristel, casting Alain Cuny, details of the production, dealing with censors, the “smoking” scene, the film’s success and critical appraisal, its worldwide distribution and re-edits, and its relevancy today. In Filming Emmanuelle, cinematographer/camera operator Robert Fraisse discusses knowing and working with Just Jaeckin prior to filming, becoming a cameraman, leaving ethics at the door, Jaeckin “conducting” the framing of shots, using filters, his memories of the mostly unused waterfall sequence, the club sequence and the “smoking” scene, and his final thoughts on Jaeckin.

Fabric & Fantasy is a video essay by fashion and costume historian Elissa Rose about the evolution of Emmanuelle’s costumes over the course of the three original films. In The Channel, actress Liane Curtis talks about her mother, dubbing artist Paulette Rubinstein, her life, and various films that she contributed to. Next is a brief 1967 interview with Marayat Rollet-Andriane (aka Emmanuelle Arsan), which was conducted on the set of The Sand Pebbles about her current work as an actress. The Joys of Emmanuelle: Part One features interviews with Just Jaeckin, Yves Rousset-Rouard, Sylvia Kristel, and adult film historian David Flint who briefly discuss the creation and release of the original film. Next are the French and US trailers.

Signed, Emmanuelle Arsan features an interview with Camille Moreau, author of Emmanuelle Arsan: Biographie d’un pseudonyme. She delves deeply into the life and career of Marayat Rollet-Andriane, aka Emmanuelle Arsan, as well as her philosophies and how they’re still relevant today. Next is a rather extensive interview with director Just Jaeckin for FilmoTV by Jean Ollé-Laprune who discuss the breadth of his career and play clips from his films. A Hard Look is a three-part Channel 4 documentary from 2000 by Alex Cox which discusses the impact of the Emmanuelle films on culture and features exclusive interviews with Sylvia Kristel, Just Jaeckin, Patrick Bauchau, James Ferman, Linda Ruth Williams, Laura Gemser, Margi Clarke, Nadine Strossen, Dennis Hopper, and Alex Cox himself. Emmanuelle in Ontario is a video essay that covers the film’s Canadian censorship battle by journalist Eric Veillette.

DISC FOUR: EMMANUELLE 2 (UHD)

• Audio Commentary with Elizabeth Purchell and Gillian Wallace Horvat
• International Trailer (Upscaled SD – 2:20)
• US Trailer (Upscaled SD – 1:33)

DISC FIVE: EMMANUELLE 2 (BD)

• Audio Commentary with Elizabeth Purchell and Gillian Wallace Horvat
• Audio Interview with Francis Giacobetti (HD – 20:58)
• Producing Emmanuelle 2: An Interview with Producer Yves Rousset-Rouard (HD – 10:59)
• Filming Emmanuelle 2: An Interview with Cinematographer Robert Fraisse (HD – 12:46)
• Mondo Emmanuelle: Ethnography and Softcore (HD – 23:21)
• Filming Report for Swiss TV (HD – 31:35)
• The Joys of Emmanuelle: Part Two (SD – 9:41)
• International Trailer (Upscaled SD – 2:20)
• US Trailer (Upscaled SD – 1:33)
• US Radio Spots (HD – 6 in all – 2:56)

DISC SIX: SOUNDTRACK (CD)

1. L’Amour d’aimer (Sylvia Kristel) (2:23)
2. Le thème d’Emmannuelle (5:35)
3. Le ressouvenir D’Ingrid (1:14)
4. Emmanuelle et Anna Marie (2:33)
5. La seconde rencontre de Jean (2:10)
6. La maison de rendez-vous (3:39)
7. La séduction de l’ile de Bali (2:06)
8. Emmanuelle au Hong Kong (1:12)
9. La vierge Anna Marie (6:00)
10. La fantaisie d’Emmanuelle (3:33)
11. Une soriée orientale (1:40)
12. Le plaisir d’amour (3:45)
13. L’Amour d’aimer (Reprise) (Sylvia Kristel) (2:19)

The audio commentary sees the return of film historian Elizabeth Purchell, now joined by filmmaker Gillian Wallace Horvat. Horvat primarily drives the conversation. In fact, she perhaps should have been given her own track as the two don’t really have much natural interplay and she has much more to say than Purchell. She gives more of a critical overview of the film, even comparing it to its Carry On counterparts, while also providing details of its production, its cast and crew, and the atmosphere in which it was made. Purchell chimes in to speak about its varying qualities, its cinematography, its release, and gives some comparison to the other films in the series. It’s a lop-sided discussion and the quality of Horvat’s audio isn’t top of the line, to be sure, but it’s still a track that manages to offer plenty of valuable information about the film.

In the audio interview with director Francis Giacobetti, conducted by an unnamed interviewer, he very frankly discusses the famous wicker chair photo of Sylvia Kristel, how much he didn’t enjoy making the second film, his dislike of the script, being grateful to Umberto Orsini for helping him through it, his approach for the film’s look, his appreciation of it today despite his troubles while making it, working with producer Yves Rousset-Rouard, working with Laura Gemser, working briefly on Goodbye Emmanuelle and Emmanuelle 4, and his final thoughts on the whole experience.

In Producing Emmanuelle 2, producer Yves Rousset-Rouard returns to discuss getting a second film underway with a new script and finding new locations, dealing with unjust French censorship, the film’s release in the US, its worldwide success, prepping for the next one, and separating himself from all of it once the three films were finished. In Filming Emmanuelle 2, cinematographer Robert Fraisse also returns to talk about being brought in to shoot the sequel, having more money to work with, the various locations, how the film was lit and shot, working with Francis Giacobetti, and being pigeonholed as a maker of erotic films. Mondo Emmanuelle features Dr. Jennifer Moorman, Assistant Professor of Communication and Media Studies at Fordham University who examines the Emmanuelle series, how it portrays worldwide cultures and ethnicities, and its place within the overall breadth of the history of anthropology.

Next is a Filming Report short film made for Swiss television that features behind-the-scenes footage and interviews with Yves Rousset-Rouard, Sylvia Kristel, and Francis Giacobetti. The Joys of Emmanuelle: Part Two features interviews with Yves Rousset-Rouard, Just Jaeckin, and Sylvia Kristel who briefly discuss how the second film came into being and dealing with censorship in France. Last is the film’s international and US trailers, as well as a set of US radio spots. Also included is a CD soundtrack featuring Francis Lai’s score and Sylvia Kristel’s title song L’Amour d’aimer.

DISC SEVEN: GOODBYE EMMANUELLE (UHD)

• Audio Commentary with Dr. Veronica Fitzpatrick
• International Trailer (Upscaled SD – 1:54)
• US Trailer (Upscaled SD – 2:23)

DISC EIGHT: GOODBYE EMMANUELLE (BD)

• Audio Commentary with Dr. Veronica Fitzpatrick
• Beyond Emmanuelle: Sylvia Kristel’s Life and Career (HD – 27:01)
• Audio Erotica: The Music of Emmanuelle (HD – 17:01)
• The Joys of Emmanuelle: Part Three (SD – 9:07)
• International Trailer (Upscaled SD – 1:54)
• US Trailer (Upscaled SD – 2:23)
• US Radio Spots (HD – 4 in all – 3:48)

The audio commentary features writer and Professor of Modern Culture and Media, Dr. Veronica Fitzpatrick. She professes the third film to be her favorite and she’s much more reactionary to the events on screen than either of the previous commentators. She also goes quiet much too often, pausing to wait for events to happen so that she can highlight them. Occasionally she reads quotes and excerpts from Sylvia Kristel’s autobiography, while also providing various analyses of the film’s themes and content.

Beyond Emmanuelle features interviews with Jeremy Richey, author of Sylvia Kristel: From Emmanuelle to Chabrol, and Leila Wimmer, Senior Lecturer in Film Studies at London Metropolitan University, both of whom delve into the life and career of Sylvia Kristel. Audio Erotica features an interview with film music journalist Daniel Schweiger who examines the music of the Emmanuelle series, as well as I, Emmanuelle. He delves into the climate in which erotic film music was being produced at that time and speaks about those who created it. The Joys of Emmanuelle: Part Three interviews Yves Rousset-Rouard, Sylvia Kristel, David Flint, and Just Jaeckin who discuss the Emmanuelle exploitation seen all over the world, making their final film, and moving on to other things. Last is the film’s international and US trailers, as well as a set of US radio spots.

DISC NINE: I, EMMANUELLE (UHD)

• Audio Commentary with Dr. Alexandra Heller-Nicholas
• Trailer (HD – 3:38)

DISC TEN: I, EMMANUELLE (BD)

• Kier-La Janisse Introduces I, Emmanuelle (HD – 6:39)
• Audio Commentary with Dr. Alexandra Heller-Nicholas
• A Director à la Française: A Conversation with Cesare Canevari (HD – 14:27)
• Memoirs of Emmanuelle: A Conversation with Erika Blanc (HD – 19:04)
• A Man for Emmanuelle: A Conversation with Sandro Pizzochero (HD – 8:22)
• I, Emmanuelle: Protagonist and Subject (HD – 9:53)
• Concerning Emmanuelle: A Vintage Conversation with Cesare Canevari (Upscaled SD – 8:54)
• Trailer (HD – 3:38)

DISC ELEVEN: SOUNDTRACK (CD)

1. Emmanuelle (3:10)
2. Micropsichia (1:55)
3. Contestazione (2:33)
4. Analisi (1:48)
5. Preludio (1:54)
6. Profondità (2:43)
7. Osmosi (2:55)
8. Angoscia (2:14)
9. Tempo (1:57)
10. Ricerca (1:48)
11. Nausea (1:01)
12. Equazione (1:08)
13. Caos (1:18)
14. Emmanuelle (Alternate Mix) (3:10)

The audio commentary features film historian Dr. Alexandra Heller-Nicholas, who delves into the state of the “very, very horny” period of late 1960s and early 1970s Italian cinema and the kind of films that were made during that time, with I, Emmanuelle being just one of them. She also examines literary sources and offers her own opinions on others’ examinations of films like I, Emmanuelle and Last Tango in Paris. In relation to the film and other films, she also plays up the importance of the “Years of Lead” in Italy, a period of sociopolitical turmoil that began in the 1960s and lasted until the 1980s. To be honest, it’s a bit of a messy track that appears to have had no editing done to it as there are frequent moments of silence, misspeakings, and mispronunciations, which could mean that a raw, unfinished track might have been used. Even if that isn’t the case, Alexandra Heller-Nicolas is always a pleasure to listen to as she brings the heat in terms of her unfiltered opinions and knowledge on the subjects she tackles. This track is no different, and it’s worth a listen.

In the optional introduction by Kier-La Janisse, author of House of Psychotic Women, she believes this to be the best film in the set and gives her reasons for that opinion. In A Director à la Française, director Cesare Canevari discusses his personal connection with French cinema, his appreciation for Erika Blanc, how he approaches his craft, working with various cast and crew, dealing with censors, and writing the screenplay. In Memoirs of Emmanuelle, actress Erika Blanc talks about Italian cinema at that time, being a working actress, finding herself among very talented people, becoming a professional with experience, remembering poor encounters she had with producers, and working with Adolfo Celi. In A Man For Emmanuelle, actor Sandro Pizzochero describes his character, dubbing himself in the film, working with Canevari, preferring theatre over cinema, and working in commercials. Protagonist and Subject is a video essay by filmmaker Carl Elsaesser that silently examines the content of the film. Concerning Emmanuelle is a vintage interview with Cesare Canevari who talks more about the film. Last is the film’s trailer and a CD soundtrack featuring Gianni Ferrio’s score, as well as the title song by Mina.

Not included from the Koch Media 4K and Blu-ray releases of the first three Emmanuelle films in Germany is The Emmanuelle Effect documentary, the Talking About Emmanuelle interview with Yves Rousset-Rouard and Just Jaeckin, An Erotic Success retrospective, Super 8 versions of the first three films, a Filming Report for the second film, a German theatrical trailer for the first film, and three still galleries.

Regardless of how one feels about these films personally or aesthetically, the Emmanuelle saga is a byproduct of sexual repression and a direct product of exploitation. Severin Films has given them a new life, complete with context-driven bonus material that enlightens as much as it informs. The late Sylvia Krystal continues to be held aloft as one of the all time queens of erotic cinema, and long may she reign.

- Tim Salmons

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