Synopsis: Gala Brown is drawing a bubble bath as Andrej Lupin’s “Bath Tease” begins. As she settles into the warm water Gala’s phone rings, and she begins a long, flirtatious conversation with Naomi Nevena who has only recently arrived in the area by ferry. As the conversation grows more heated Gala begins to masturbate, and so, by the time Naomi joins her, she’s already primed and eager for action. Despite the masturbatory prelude, the pace is relaxed and the mood light and playful as the girlfriends begin to get reacquainted. Kisses and affectionate caresses are shared throughout the interlude and there’s a fluid tempo to the proceedings. When Gala’s soap-slick fingers begin to push Naomi closer to ecstasy she grabs her partner’s hand and ups the intensity of her stroking until she’s moaning with satisfaction. Then Naomi has Gala move to an elevated step within the oversized bathtub so that she has full frontal access to Brown’s moist charms. Adjusting positions, shifting technique from tongue, to probing fingers, to deft clit-stroking, ensures that a steamy and satisfying time is enjoyed by both participants. Then, after Naomi has treated Gala to a gratifying final come, the twosome lather up and bathe each other, bringing “Bath Tease” to a playful, sweet, and pleasing conclusion.
“Female Power” might be a chanted slogan at a feminist political demonstration, it could be a plea for equality in the workplace, and it could be a simple declaration that members of the so-called “second sex” are tired of being treated as second class citizens. But in Andrej Lupin’s “Female Power” it playfully signifies the irresistible allure that a woman can use to bend a man to her will. Matt Ice is in the shower, minding his own business, when Antonia Sainz enters the bathroom.
At first she watches him from a distance, then she takes off her robe, climbs into the bathtub just outside the glass-walled shower stall, and slowly, deliberately, and with lustful calculation, begins to exert her “Female Power.” She starts by toying with her breasts. Then she slides two fingers between her legs and plays with the pouting lips of her pussy. Matt, as one might expect, snaps to full attention. At this point Sainz begins to tease Ice in earnest. She feigns a blowjob, she rubs her firm ass on the glass, she playfully tempts and taunts, earning Matt’s wide-eyed approval.
After she’s had her fun with the tease, Sainz is hungry to please, and satisfies her hunger – and Matt’s – by treating him to a blowjob punctuated by bouts of slick and skilled stroking. Now that she’s got Ice exactly where she wants him, Sainz decides she wants him somewhere else, so he enters her from behind and fucks her to peaks of pleasure. Then, with Matt seated on the edge of the tub, Sainz rides him in two positions before achieving her final climax. An arrogant or selfish female might exit the scene at this point, but Antonia’s brand of “Female Power” is loving and generous, so she treats Matt to the slippery delights of a brief tit-fuck, and then she jerks his prick until his semen spurts and splatters her chest and the immediate vicinity.
Pleasingly and playfully passionate, “Female Power” is certain to engage, entertain, and satisfy viewers regardless of gender.
The word brings to mind a range of images and situations. It might be the heady and intoxicating early days of a budding relationship, it could also refer to mellow and seasoned connection between two lovers after many years together, and it certainly could apply to one person’s attempts to woo and seduce a partner. But in the sense that director Andrej Lupin employs it, “Romance” is the succinct and utterly perfect description of the relationship his two gifted stars are so deeply involved in. As the film begins the encounter is already underway. Framed in tight close up, Anna Rose and Lucy Li face one another, lingering, savoring the sweet moments before their lips meet.
An updated arrangement of Beethoven’s “Moonlight Sonata” ads a rich moodiness, and also mirrors the pace and tempo of the action. Love hangs heavy in this room, the yearning anticipation is nearly palpable, and the desire these two truly stunning women feel for each other will not be denied. While Lupin’s lens occasionally pulls back to provide context, for most of “Romance” it’s in close, so close it’s almost a third participant in the interlude, yet it is never obtrusive – instead it puts the viewer in the space. The texture of warm skin, the loving look in glittering eyes, a throbbing nipple, a flicking tongue, a long hank of lustrous hair – every physical detail of these stunning performers is rendered with eye-pleasing detail and painterly style. And the power of the connection, the love, the passion, the hunger, and the pleasure they give, take, and share is conveyed masterfully to the viewer.
Anna Rose and Lucy Li are perfectly cast. Similar in some ways, starkly different in others, each immerses herself so completely in the role, in the moment, in the scene, that they lose themselves in each other even as they transcend the line between acting and sharing a lush, vivid, and passionate experience. Welcome to a world of exquisite emotion and eroticism, welcome to “Romance.”
Whitney Conroy is up to her beautiful neck in warm water and luxuriant, perfumed bubbles as “Waiting for You” begins to unfold. But Conroy’s soul-soothing bath is interrupted by the appearance of Margot A, a bottle of wine and two glasses in hand. Margot then exits the bathroom and takes a seat outside on the patio. There is no verbal invitation or instruction, and none is needed. Conroy rises from the tub and walks outside to join her lover. After drinking a toast the wine is put aside and the twosome indulge in something far more intoxicating: the pleasure of each other’s flesh.
With Margot clad in nothing more than a scant leopard print robe, Whitney gains easy access to her shapely body. She sucks and kisses Margot’s ample breasts, deep kisses her beautiful mouth, and then moves down for a long, leisurely, and loving session of cunnilingus. It’s clear from the pace and the passion of the proceedings that these lovers are finely attuned to one another. Whitney knows exactly what will deliver maximum pleasure and her lovemaking is focused, attentive, and results in a slow burn leading to a final exquisite orgasm.
Whitney has already achieved a high level of arousal by the time Margot begins to pleasure her. Teasing kisses are a prelude to skillful pussy eating, and Whitney doesn’t simply lay there and enjoy it, she’s an active participant, rocking her hips and rolling her succulence across Margot’s eagerly extended tongue. With Whitney masturbating and Margot fingering and licking away, Conroy reaches a particularly powerful full-body climax that is a joy to witness. Stylishly rendered and lovingly and passionately performed, “Waiting for You” just might be the lesbian erotic film you’ve been waiting for.
Synopsis: Andrej Lupin’s “Hotel Episode 2 – Deja Vu” begins where the previous installment left off, with lesbian lovers Chelsy Sun and Nataly Von together in their hotel room bed. Nataly is the first to wake, and shortly after she does the film heads in an unexpected – but welcome – direction. After a leisurely shower Von, wearing only a towel, enters an adjoining room and her eyes twinkle with delight when she finds Matt Ice, asleep on the bed. She drops her towel and with gentle caresses she rouses him from his slumber.
Ice is pleasantly surprised by the arrival of this beautiful, if uninvited, guest, and they’re soon kissing. After exploring and penetrating Nataly with his fingers Ice moves to her feet, licking and sucking her toes, kissing her feet, and then feasting on her pretty pussy. Whether they’re fucking in any of several positions, or when Nataly skillfully fellates her impromptu partner, the action is punctuated and enhanced by frame-filling close-ups that underscore the emotional connection and physical attraction the couple share. Nataly is the first to reach orgasm, stroking her clit as Matt pumps her to ecstasy. And Von takes matters into her own hand seconds before Matt reaches his own peak and strokes him to a splashy finish.
There is a twist that come into play along the way, but you’ll find no spoilers here – it’s highly recommended that you check into “Hotel Episode 2” at your earliest opportunity and experience it for yourself.
Synopsis: “J&J” is named for its two stars – Julia Roca and Juan Lucho – and is something of a lusty love story. And just as a romantic couple is composed to two separate individuals, “J&J” consists of two contrasting elements. Much of the film takes place during the day, in a white room with white shades that diffuse the abundant natural light. The lovers are both clad in white underwear, and they kiss with passion, desire, romance, and bit of pleasing playfulness.
It is in this daytime space that Lucho eventually goes down on Roca, and his agile and insistent tongue soon has her moaning with pleasure and absolutely beaming with love and affection for her partner. But the couple are also presented in a far different setting. Here it is obviously late at night. Dance music throbs from somewhere else in the building – perhaps they’ve wandered upstairs or backstage in a nightclub. In this unlikely spot they kiss and fondle each other, but the mood is entirely different. No less loving, no less passionate, but more raw, more edgy. And “J&J” moves between the two spaces as Julia and Juan move through an extended session of lovemaking. In the nighttime space Julia ravenously sucks and vigorously strokes Juan’s cock.
In the daytime space the tempo and intensity of Roca’s blowjob is subtly altered – it’s every bit as hot, just absent the mood and attitude of the nocturnal encounter. That daytime blowjob is followed by fucking, first in the cowgirl position, then its reverse. And through it all, even as her arousal increases, Julia is radiant, spontaneous, naturally expressive, and fully caught up in the romance and passion of the moment until orgasm overwhelms her. The scene then changes once more, and in that shadowy room the fucking continues until Lucho erupts deep inside his lover. “J&J” offers a multidimensional portrait of a couple very much in love (and lust).
One of director Alis Locanta’s most recognizable stylistic signatures is the inclusion of a brief epilogue at the end of his erotic features. He does that in “The Heat 3,” but he also deviates from his established pattern by including an unexpected – but most welcome – prologue, as well. Here headliner Tracy Lindsay, in behind the scenes fashion, talks directly to the viewer and even mentions a handful of Sexart’s most prolific and outspoken commenters by name.
It’s a rare and engaging glimpse of a talented and popular performer that underscores the interactive, collaborative nature of the greater Sexart community. After the introduction, “The Heat 3” gets down to the style and substance that defines the series. With the familiar theme music adding its provocative flavor, Lindsay and costar Alexa Tomas put on a show for one another. While there’s some ambiguity in this stylized footage, the raw beauty and steamy sensuality of the performers is rendered with vivid impact. While there is a certain nonlinear flow to the events, the film consists of, roughly, two segments. In the first, Alexa is pleasured – manually, digitally, and orally – by Tracy.
For much of this sequence Tomas remains standing, but as her excitement builds her legs become unsteady and she’s seated when Lindsay brings her to a final, vocal, climax. In the second segment Lindsay is seated on a kitchen counter. But rather than simply reversing roles and accepting Alexa’s attentions, here Lindsay spends a fair amount of time stimulating herself with an able assist from her Spanish lover, and with an altogether satisfying result. Although it boasts its share of twists and surprises, “The Heat 3” carries the series forward with style, beauty, and eroticism that ranges from subtly sultry to simply scorching.
Synopsis: Matt Ice is sitting by the pool and talking on the phone when Kiara Lord ambles up. Lord wants to play but Ice is immersed in the conversation he’s having. So Kiara begins to mercilessly tease her lover, giving him an unrequested lap dance and exposing her magnificent breasts until Matt has no choice but to conclude his call and give his girlfriend the attention she so clearly craves.
But Kiara is in a playful mood this afternoon and she makes Matt chase her, completely shedding her top in the process, and then running into the house. The lovers wind up in the home’s gym, and Matt quickly strips Kiara of her white denim cut-offs and begins to eat her succulent pink pussy. This is clearly what Kiara has been waiting for, and she’s soon moaning and quivering with sexual delight. After Lord has expertly sucked Ice’s erection she steps into the dipping station and he enters her from the rear and begins to pump – the sensations of cock inside pussy and their reflection in an adjacent mirror quickly raise the temperature in the room from simmering to sizzling.
After banging for a bit on a dumbbell rack the twosome move to an adjustable bench, first in the incline position for and upright cowgirl ride, and then Matt unexpectedly shifts the bench to flat where they reach an orgasmic crescendo capped by an internal eruption. Lighthearted, romantic, energetic, vigorously erotic – and enhanced by stunning close-up camerawork – “Rejoice” is filled with affection, love, beauty, and sex that’s worth celebrating.
Synopsis: Although he has countless technical, creative, and stylistic tools at his disposal, director Alis Locanta can also craft an engaging narrative with a minimal number of ingredients. In his lesbian love story “I’ve Been Missing U,” the title serves as the script and the simple statement provides all the direction the film’s stars – Anissa Kate and Ariel Rebel – need in the way of motivation and character development. The film begins on a distinctly retro note, with a subtly blurred celluloid image and a nonspecifically nostalgic soundtrack. And with one kiss and an erotically charged embrace the sense of sexual longing and desire is made apparent. The subsequent action is simplicity itself.
Anissa and Ariel sit facing one another on an upholstered bench. They are both topless and wearing panties. While not precisely opposites, the two women are distinctly different types. Anissa, statuesque, bosomy, with black hair and a bronze complexion stands in contrast to diminutive, delicate, pale and petite Ariel. Their striking visual differences may help explain their attraction for one another, but their sexual hunger is abundant and quite equally matched.
Bathed in the light of a sun hanging low in the afternoon sky, they make love – Anissa tends to Ariel first, and then the roles are reversed, with equally satisfying results. In a stylized epilogue Anissa takes the role of dominant Amazon and administers a spanking to eagerly submissive Ariel, adding a touch of erotic complexity to the simple pleasures of “I’ve Been Missing U.”
Synopsis: As “Masseur” begins It’s just another day at the office for Matt Ice, in the title role, as he prepares for his next client. And, as he spreads oil and starts to massage (Sexart first-timer) Erika Black’s back, everything appears routine and run of the mill – a skilled professional providing soothing service to an appreciative customer. But then, while Ice attends to Black’s shoulders, she opens her eyes and finds herself staring at Matt’s crotch, mere inches from her face. The intimacy of the setting, and Matt’s skilled hands have unintentionally created an idea and an opportunity. Erika reaches out and caresses Matt. Then she releases his erection from his shorts and eagerly sucks it.
But Ice is torn – he’s a man, but he’s also a professional – and he removes his cock from Erika’s mouth, replaces it in his pants, and resumes the job he’s been paid to perform. But that brief bit of sex-play has only increased Erika’s desire. She teasingly removes the towel that’s been covering her backside, and as Matt goes to work on her now exposed ass, his professionalism gives way to his passion. First he strokes and caresses Erika’s clean-shaven sex, then he vigorously probes her with two thrusting fingers, and then inserts his rigid muscle inside his gorgeous and glistening client, and they begin an extended, passionate, and powerfully satisfying screw with massage table as mattress. A
fter she’s had her fill of cock and climaxes Erika pulls Matt from her pussy, and then energetically milks a copious load of his cum onto her beautiful body. Relaxed and thoroughly satisfied, Erika heads for the shower and Matt is left to ponder the fringe benefits of life as a “Masseur.”
Synopsis: Andrej Lupin’s “Skyline” opens on an elegant and romantic note as Linda Sweet and Kristof Cale admire the nighttime view from the veranda of their home high in the hills. But the couple is not alone – in the background a female figure can be seen watching them. And when the watcher – Gina Gerson – walks up and joins them the night begins to simmer, then sizzle, and then scorch as the trio give in completely to their overwhelming mutual attraction.
It starts with a kiss as Linda and Gina savor the sweetness of each other’s lips – Linda even waves Cale off when he dares to caress her. But Kristof eventually becomes a full participant, getting his cock sucked by both beauties before slender vixen Gina takes his erection deep inside her while Linda takes a seat on his hungry mouth. Gerson, sweet, intense, and vocally expressive, quickly reaches the first of several orgasmic peaks. After Gerson climbs off Cale, Sweet climbs on and enjoys a similarly satisfying ride on Kristof’s staff.
After making love in several additional positions and combinations the two beauties are finally satisfied, and Cale piston his prong into Sweet’s glistening pink slit until he’s pumped a creamy load deep within her. Nude and glowing with satisfaction, the lusty trio then stand at the balustrade taking in the beauty of the “Skyline” and looking forward to what additional pleasures this wild night may yet have in store for them.
Synopsis: Alis Locanta’s single girl masturbation series “Lost in a Dream” is both popular and highly rated, and the format could no doubt be revisited long into the future with similarly satisfying results. And that’s enough reason for this restless and inventive director to take his project in a distinctly new direction with “Lost in a Dream #7.” This is also a new direction for the film’s star, Julia Roca. As noted, previous episodes of the series have been single girl features, and Roca’s four previous Sexart appearances have been in girl-girl films.
Here she’s the Dreamer character of previous installments. But, for the first time ever, the Dreamer conjures a partner in her dream, Joel Tomas, making this the first boy-girl film in the collection as well as Roca’s first boy-girl scene for Sexart. And, make no mistake, this is a bravura performance for the dark-eyed siren. True to form, the film shifts from the sleeping Dreamer to the visions playing out in her dreams. And, following the unique, nonlinear logic of the subconscious, Roca’s dream is segmented, consisting of three separate encounters. In the first, Roca and Tomas are relaxing poolside when she’s suddenly inspired to ravenously suck and furiously stroke his cock until her breasts are smeared with semen. In the second segment Roca and Tomas kiss and caress with vigorous passion before Tomas eats Roca’s pussy to an extremely vocal and expressive orgasm.
As the Dreamer’s own autoerotic activities increase in intensity the third segment is an absolutely searing screw, devoid of frills or foreplay, and filled with pumping, pounding, grinding, and Roca’s unrestrained, animalistic, and ecstatic expressions of raw sexual desire and overwhelming pleasure. “Lost in a Dream #7″ ends with two tantalizing extras – Roca is simply stunning in the high fashion epilog that runs under the credits, and sharp eyed viewers will surely wonder: where, when, and why was she sleeping in that non sequitur of a setting?