Synopsis: From its cryptic title to its ominous, almost sinister epilogue, Alis Locanta’s “Something Else That I Have To Survive” is wrapped in a thin veneer of mystery, but the actual content of the film – a heated bout of Latin-flavored lesbianism – is simple, straight-forward, sizzling, and satisfying. Layla Sin and Chloe Amour lounge on a bed munching on salty snacks and sipping soda pop as they recount recent events in their lives.
The mood here is giddy, girlish, and cheerful, with subjects ranging from hot guys to beauty pageants. But then, suddenly serious, Sin declares: “I don’t know what I would do without you.” That heart-felt pronouncement opens the door and sexual love immediately makes its entrance. After peeling off Sin’s skin-tight jeans Amour uses her long, delicate fingers and agile tongue to penetrate and tease Layla to vocal peaks of pleasure. And after she’s regained her composure, Sin eagerly repays the debt, first licking and probing Amour from the front, then moving behind her and reaching around until her partner has reached orgasm.
The casting here is particularly appealing – though each is distinctly appealing in her own right, Amour and Sin are surprisingly similar in outward appearance. Exotically beautiful, with long dark hair, dark eyes, and lean, shapely, long-limbed bodies, this striking visual pairing is a major reason that “Something Else That I Have To Survive” is really something to savor.
The late, great, writer-director, and erotic cinema innovator Zalman King created the “Girls Love Sex” series for Sexart in the final phase of his career and life. Now Alis Locanta steps into King’s imposing shoes for his own interpretation of the master’s established format with “Ain’t Talkin’ ‘Bout Love,” the first installment of the “Girls Love Sex International” series. While the format doesn’t differ too greatly from the original, the film does have a distinctly European flavor.
Amarna Miller is the focus, star, and interview subject here. Seated on a couch she enthusiastically and candidly discusses her sexual history and her career as an erotic model. As the red-haired Spanish beauty grows more relaxed in the course of conversation she describes, in some detail, a relationship from her past. And when the memories of that intense and passionate entanglement overwhelm her with sensual recollections she terminates the interview and gives in to her erotic desires. What follows is an intimate, honest, sincere, and uninhibited episode of female autoeroticism.
By the time she has completely satisfied herself the viewer will be, likewise, completely satisfied, and will come away with a detailed and compelling impression of a beautiful young woman in her sexual prime. Honesty, intimacy, and explicit eroticism allow Alis Locanta’s “Ain’t Talkin’ ‘Bout Love” to speak a universally understood language.
Lorena B is in the spotlight looking provocative and demur. Just look at her mischievous smile as she poses in the spotlight with just her bra and panties on. Once she removes panties you can see her plump hairy pussy that is waiting for penetration from her bright red beads.
The two stars of Don Caravaggio’s “Stay Sweet” make a fine pair by virtue of their similarities as well as their differences. Both performers share somewhat similar physiques – small breasts, ripe asses, long legs – but where Lorena B has dark hair and a bronze complexion, Tracy Lindsey is a blonde and cream-skinned. Adding a further bit of subtle contrast, Lorena brings a knowing maturity to her role while Tracy retains an endearing hint of innocence.
The film, which takes place in a generously proportioned and luxuriously appointed bathroom and adjoining shower stall, unfolds at a relaxed pace and allows the chemistry between to two lovers work its magic without rushing. The lighting is soft and warm, the camera moves gently and unobtrusively, and the performers take their time while savoring each other with equal portions of love, tenderness, and passion. Much time is spent simply kissing and caressing. And when the pair is ready for more they move into the shower where they take turns pleasuring each other as water plays across their beautiful bodies. Two extremely appealing stars and an artful balance of tenderness and passion make “Stay Sweet” a tempting erotic treat.
It’s a quiet, balmy evening. Lorena B and Mia Knox, chatting and flirting, walk up to a house, stopping outside the door. We can’t hear what they’re saying but the situation is all too familiar – the dinner and drinks have been enjoyed, now it’s time for a kiss goodnight…or perhaps something more. Lorena is cheerful and bright, not teasing but not encouraging. Mia is aroused, aggressive, making no attempt to conceal her desire. Lorena eventually agrees.
They go inside the house. No time for the bedroom, or even a sofa – they embrace on a coffee table and the seduction proceeds. Mia quickly helps Lorena out of her denim mini skirt and top, then savors the exposed flesh she’s been hungering for. Lorena is a willing partner, enjoying the attention, and yielding to the pleasure. They kiss, they caress, they explore, tentatively, and then with increasing intensity. It’s when they’re in the a 69 that Mia, in the superior position, pulls out the stops. She licks Lorena’s clitoris and sucks on her pussy until she’s thrusting her hips and pushing herself against Mia’s greedy mouth. After her own overpowering orgasm subsides, Lorena turns her full attention to her seducer. While Lorena rhythmically pumps two fingers in and out of Mia’s moist pussy, Knox feverishly rubs her own clit until the inevitable, exquisite, explosion arrives.
A connection is forged in love and lust in “You & Me.”
When we first see Samantha Bentley she’s singing and dancing to the music playing on her iPod while sorting her laundry. Lost in the moment, she doesn’t notice when her lover, Franck Franco, enters the room. And Franco doesn’t interrupt – he watches in amused silence with a smile on his lips and love in his eyes.
When Bentley realizes she’s not alone her embarrassment is fleeting and the couple begin to kiss, and their passion quickly escalates. Bentley, making her SexArt debut, is a British citizen, and Franco is a Spaniard, but the connection this couple share is genuine, powerful and easily transcends any language barrier. Indeed, when two people share such a powerful bond no words need be spoken and love expresses itself with pure physical passion and orgasmic bliss.
No subtitles or translation is required as this encounter unfolds – “Spanglish” proves, with style, intensity, and sincerity, that love is the universal language.
The ocean is agitated, alive – white-capped waves roll insistently towards the beach and break against rocks and black sand. The strand is desolate, beautiful, bathed in the rays of the late afternoon Sun. As the stars of “The Sea Mousse” arrive in this striking landscape they are giddy, beaming, running ankle-deep in the foamy surf, two stunning young women, playfully, eagerly, entirely in love.
Carefully balancing sex and art, director Andrej Lupin then positions his subjects – Lorena B and Whitney Conroy – on a blanket mere feet from the surging waters. What follows combines natural beauty with artful style, the hunger of passion flows into the most tender romance. Love in the afternoon, accompanied by the sand, the surf, salt spray, glimmering light, lengthening shadow, and the rolling, crashing waves of exquisite orgasmic delight.
Let “The Sea Mousse” sweep you away to a place of extreme beauty and overwhelming pleasure.
A young, carefree couple wander the park like grounds of a farm or ranch. They appear to be alone – and most certainly in a romantic world of their own – as they stroll among the stone outbuildings. Suddenly the girl (Paula Shy) breaks gleefully into a run and her boyfriend (Daniel G) falls in behind her. Their destination?
An old barn filled with bales of golden hay. The mood quickly shifts from playful to romantic, and then from romantic to passionate. After spreading a handy sheepskin pelt on the mattress of straw at their feet, the couple proceed to do what couples do when they find themselves alone in a private place in a picturesque setting.
With an intriguing and evocative location and eager, sincere and heartfelt performances, “Like Old Times” provides a detailed and extremely engaging illustration of the old expression “a roll in the hay.”