It’s not at all surprising – and also entirely fitting – that the tenth episode of Alis Locanta’s groundbreaking erotic series “Outlines” is completely unlike any of the nine episodes that have preceded it. Most notably, “Outlines Episode 10 – Animal Instinct” is neither a single girl, or a girl-girl feature. Taking the series into uncharted territory, Locanta has cast three performers – Taylor Sands, Silvie Luca, and Alexa Tomas – and has given them each unique roles to play. While it is tempting to reveal the scenario and action in luscious, lurid detail – and this film is unquestionably both of those things – it can be said without giving too much away that Ms.
Sands is cast in the most animal-like role, even though her castmates also have ample opportunity to display their “Animal Instinct.” With theme music provided by an atmosphere-enhancing jazz quartet, the film cycles between the presentation of the three stars, each in her own panel of an animated triptych, and two stylized but intensely erotic sexual encounters. While all three of the film’s stars have appeared in previous installments of the “Outlines” series, their performance here are completely self-contained and specific to this production. The same can be true of the cinematic artist who created the ten component pieces of “Outlines.” Each episode of the series is unique, inventive, experimental, and powerfully erotic. Although “Animal Instincts” ends the series, it also begins a conversation, and viewers will be talking about and revisiting “Outlines Episode 10” long into the future.
While the introductory installment of Alis Locanta’s “Outlines” was bold and provocative, in style, concept, and execution, it was not, we discover in “Outlines Episode 2 – Riders on the Storm,” the launch of a rigidly formatted series. Indeed, apart from its brevity – this episode is just over six minutes long, the debut was just over eight – “Riders on the Storm” has little in common with its predecessor. Most notably, this is a girl-girl film, and while it is highly stylized – it is “a Locanta Vision,” after all – it is free of the experimental visual effects that distinguished the earlier offering.
But while the style of this episode is much more grounded in reality, it also plays with perception, point of view, and our expectations. Silvie Luca and Alexa Tomas, superficially similar but each distinctly beautiful, are costumed in nearly identical workout gear. Alexa, her skin beaded with sweat, has completed a routine on a pommel horse. From an adjacent room Silvie watches, then turns her back and impulsively begins to masturbate. In fantasy, or perhaps reality, Luca joins Tomas. She licks perspiration from Alexa’s torso, then, as Alexa balances on the apparatus, Silvie eats her to orgasm. In a parallel – or at least alternative – space, Alexa holds up a framed mirror while Silvie studies her own image.
Luca acheives pleasure by giving pleasure. Tomas receives pleasure but doesn’t reciprocate. The narrative may be inscrutable, but “Outlines Episode 2 – Riders on the Storm” is a ride well worth taking.
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: It’s been nearly a year since Alis Locanta released “Possessione” and fans of the original are certain to be pleased with the sequel, “Possessione 2.” Here the subject matter, the style, and even the leading man remain the same, but now Alexa Tomas takes on the role of submissive to Franck Franco’s dominant. And Locanta sets the story in motion with the same clever mix of the sinister with the sweet, the ominous with the innocent, the rough with the tender. After a dark and disquieting introduction (enhanced by a foreboding soundtrack) we’re given several different views of Alexa and Franck’s relationship.
They’re in love, they’re impulsive and spontaneous, and after Alexa makes a not so subtle suggestion, they’re obviously open to experimentation and erotic adventure. Without revealing too much detail – and robbing the viewer of the thrill of discovery – it’s safe to say that “Possession 2” is about power – relinquishing it, utilizing it, and ultimately sharing it. Alexa has chosen her role not only willingly, but eagerly. Franck uses his power not to threaten, but to create pleasure – for himself, to be sure, but for his tethered partner in equal measure.
Here the master and the slave derive the same delight from the ritual they partake in – both the possessor and the possessed achieve a similarly elevated level of arousal, and, in the end, the same level or orgasmic pleasure at the very same time. And as they kiss and hold hands in the aftermath it’s made abundantly clear that “Possession 2” is only superficially about power, and almost entirely about the pleasures that can be achieved through unconventional means.
A woman – Alexa Tomas – makes her way along the streets of a Spanish town, finally arriving at a train station. As she waits her face reveals nervousness and eager anticipation. When the person she’s been waiting for – Lexie Dona – finally arrives their reunion is joyful, and any nervousness evaporates instantly.
And once the two beautiful brunettes are reunited in “Together” they while away the hours wandering along picturesque boulevards, stealing a kiss, and strolling hand in hand on the beach. The following morning Lexie strokes the smooth skin of her still sleeping lover, drinking in the sight and feel she has been denied for far too long. After Alexa has awakened the twosome savor a long, leisurely, and passionate session of lovemaking. In between tender, lingering kisses Lexie pleasures her exceedingly receptive and responsive partner.
Lexie licks, sucks, and kisses Alexa’s glistening pussy hungrily, and then pumps two fingers insistently in and out of her moist slit until Alexa reaches a sweet and powerful climax. Alexa then primes Lexie with deep kisses and two thrusting fingers until Lexie rises from the bed, straddles Alexa’s face, and gets licked, sucked, and tongued to orgasm. Romantic, passionate, tender, and impressively genuine, Andrej Lupin’s “Together” gives the viewer an intimate view of two gorgeous women in a beautiful relationship.