Her character has been described as "a strong and independent woman, sexually proactive, at the centre of wealthy young and old white men of power, and involved in any sort of depraved set and situation.

Upon travelling there and telling him that he wanted her to star in a film, the agent tried to dissuade him, pointing out that she could hardly pose for a photograph properly, let alone act.

In the meantime, the producer had called together Angelo Infanti, Karin Schubert, and Gabriele Tinti, and they started shooting in Kenya.

[4] Black Emanuelle was made to cash in on the success of the French film Emmanuelle with Sylvia Kristel, which was released the year before.

[5] Kristopher Spencer calls Fidenco's scores to the Black Emanuelle films "by turns sultry and serious, fun and funky", and describes the instrumentation and sound typical of these soundtracks:[6] Fidenco works with a small combo led by keyboards and guitars, adding exotic percussion, woodwinds, brass and string in small doses.

The sound is sophisticated, groovy and melodically memorable, with occasional Latin rhythms, unusual electronic textures and production nuances that show the influence of proto-techno wizards Giorgio Moroder and Kraftwerk.One version of this otherwise softcore film contains brief hardcore pornographic inserts.

[3] He states that this was also due to the "beautiful costumes" (Italian: bellissimi costumi) by Adriana Spadaro and to the soundtrack by Nico Fidenco, who Albertini had invited for the job.

The film, starring Malisa Longo (Emmanuelle) and Rita Manna (Judith) also saw theatrical release as Passion Plantation.