It’s early in the morning. Lutro, sleeping soundly, is oblivious. The camera, moving unsteadily through the room strewn with hastily removed clothing, shifts blearily in and out of focus. Eveline Neill is seated on the foot of the bed. Her hair, like the sheets, is in disarray. In flashback we see how her hair, and the bedding, got so disheveled. In the morning her expression is ambiguous, strained, slightly melancholy perhaps. But the previous night, that “One Night” that gives Andrej Lupin’s film its title, she was as pretty as a picture, as happy as a lark, and eagerly joined Lutro for a passionate, spontaneous hook-up.
Although it cuts periodically to the following morning, the subject of the film is what happened the previous night. Swept up in their mutual attraction the couple make out feverishly. Stripped of everything but her pretty panties, Lutro dines on the evening’s delicacy, Eveline’s smooth, wet, hairless, and eager pussy. She’s responsive, alive, electrified by the touch of his tongue. With appetites of her own and a desire to please, Eveline proceeds to give suck to Lutro’s cock. Suitably inflamed by this extended foreplay the couple unite in an upright clinch that places Eveline in the cowgirl position.
She rides, first at a canter and then at a gallop. As their lust builds the couple shift from one position to the next, attentive to one another, but focused on pleasure. Her orgasm comes first. And by doing so it hastens his. Then, spent, they surrender to contented sleep. The morning may bring regret or second thoughts. But that night, that “One Night,” was everything two people could possibly want.
It begins with a beautiful woman, alone, in the comfort and solitude of her bedroom. A fire roars and crackles on a nearby video screen, bathing the room in warm light as the woman, Eveline Neill, indulges herself in the pleasures of masturbation. First she uses only her hands and fingers, but soon she’s stripped off her lingerie and employs a vibrator to buzz her clitoris and plunge into her glistening slit. As her excitement builds to a peak she’s unexpectedly joined by Marcel Lee who places his hand on Eveline’s and lovingly helps guide the vibrator.
After the segue from solo to duet, the erotic fire of “Finish Me” really begins to burn. The couple assume a sixty-nine position, with Eveline on top, and while she avidly ingests Marcel’s manhood, he uses his mouth – and then the vibrator – to tease and please her pretty pink. Neill then takes a reverse cowgirl ride, followed by a spirited spooning, and ultimately a vigorous and acrobatic buns-up rear-entry ream climaxing – literally and figuratively – with an internal ejaculation and vocal expressions of ecstasy.
Want to inspire an erotic interlude? Start with “Finish Me.”
Light streaming through a window does little to penetrate the shadows of a darkened room. Candles flicker in the gloom and smoke hangs heavy in the air. A hooded figure moves slowly through the space. A man, blindfolded, lies on a platform, his body encased in black plastic sheeting, his erect cock poking luridly through a hole in the material.
The figure sits, spreads her legs and surveys her subject, playing her bare feet idly across his expressionless face. Moody, atmospheric, kinky? “Darkness In My Mind” is all those things. It’s also unpredictable, unconventional, surprising, and feverish in its intensity.
“Darkness In My Mind,” written by Ariel Piper Fawn, explores female desire, decadence, dominance, and the single-minded pursuit of sexual pleasure in unique and unusual ways, and director Andrej Lupin brings her vision to the screen in ways that will arouse, provoke, tease, intrigue, and, above all, satisfy.