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Introducing Bella Blond

I’m delighted to introduce a beautiful new girl who has made a huge impression on everyone here. Bella Blond is a sweet, sexy and stunningly gorgeous babe who is notorious in her native Germany for shooting public ‘flashing’ movies. When the dynamic duo of director Andrej Lupin and producer Ariel Piper Fawn spotted her, they knew she would be a perfect fit for the MetArt Network, and whisked her away to Lanzarote to shoot ‘The Bet,’ which will be released on VivThomas next week. She appears in two fantastic scenes, a lingerie liaison with cute newcomer Cristal Caitlin, and a superb shower hook-up with lovely Kiara Lord, who has recently received a very warm welcome both here and on VivThomas.

Bella has a sensational slender-yet-stacked body and a pretty face with the most incredible eyes. When she looks at her sexual partner, you can practically hear their pulse start to race! Andrej and Ariel were so impressed they also shot her for another future VivThomas release, as well as a SexArt series and a scene for their Vintage Collection. “She is a really lovely girl, we will shoot her again soon for sure!” Ariel told me.

Of course I grabbed the opportunity to ask Bella a few questions – who wouldn’t want to find out more about a babe this hot? Here’s what she told me…

Bella, can you tell us a little bit about yourself?

BB: I am 24 years old. I live in Munich, Germany. I enjoy going swimming, I like cooking very much and I travel very often.

You are the first German girl ever to work with SexArt and VivThomas – is modeling an unusual choice for a German girl?

BB: It is very nice that I am the first German girl ever to work with SexArt and VivThomas. But it’s not unusual for a German girl to work in this industry.

What inspired you to get into nude modeling?

BB: I am very fine with my body and I like showing it to other people while they’re enjoying seeing me!

What is your favorite thing about your appearance?

BB: My favorite thing has to be my breasts, they are 70D (32D).

Did you do a lot of stills photography, before starting to make movies?

BB: No, I started filming directly. I also used to dance, but I don’t any more.

You are known in Germany for making public ‘flashing’ movies, such as on the subway. Do you get recognized by your fans in Germany?

BB: Yes, all the time!

How did the experience of working with Andrej Lupin in Lanzarote compare with your previous work?

BB: There were huge differences in working with Andrej Lupin... I mean like very wonderful big differences, which I can’t compare to anything I have ever seen. The location was awesome.

Did you enjoy getting dressed up for the shoots?

BB: I loved being dressed up, this was wonderful! My personal style is ‘elegant classic.’

Do you enjoy sex with girls in your personal life? Had you had sex with a girl before you did it on film?

BB: It is a wonderful experience having sex with girls, and I had already had sex with a girl before I started shooting movies.

If you could only have sex with boys or girls for the rest of your life, which would you choose?

BB: I’ll always choose boys... because I would miss them too much!

I think you are going to like this amazing girl A LOT... I can't wait to hear what you think of her!

Preview – Ariel Rebel and Amarna Miller come together!

Tomorrow’s SexArt movie release is ‘Pour Toi Mon Amour 4’ – and moments into this delicious piece of erotic art, I was hooked. Amarna Miller’s flame-haired pussy, her vibrant eyes and softly parted lips, and the sensuality of her movements, all conspired to mesmerising effect. When that was followed by the first glimpse of Amarna and Ariel Rebel together – something I’ve been eagerly anticipating ever since Ariel mentioned it in her recent blog post – I really felt like I’d hit the erotic jackpot.

Ariel’s first appearance, in December’s ‘Incandescence 2,’ took SexArt by storm, and her debut on MetArt a couple of days ago has met with a similarly rapturous reception. This petite French-Canadian beauty has everything you could wish for in a star – a fascinating cute-but-sexy look, great body, and a really fun and friendly personality. She’s absolute dynamite to watch. What an inspired move for director Alis Locanta to pair her up with Spanish sweetheart Amarna. Ariel described the experience as “my coolest scene ever!”

The girls kiss tenderly on a breezy balcony overlooking the Barcelona skyline, looking so fresh and pretty in their heels and summer dresses. As Amarna unzips Ariel’s dress and lets it drop, Ariel turns to let us gaze at her spectacular bottom. We cut to inside, Ariel straddling Armana’s lap to kiss her, their passion building. Ariel pinches Armana’s nipples, making her giggle with delight, then shimmies down and spreads her thighs so she can taste her sweetness. If you’ve never seen Ariel eat pussy before, you are in for a treat; her attention is focused like a laser beam on that slippery pink slit, tongue and fingers moving rapidly. Amarna is delightfully vocal, her moans growing in intensity as she approaches an earth-shattering orgasm.

When it’s Ariel’s turn to receive pleasure, her puffy, engorged clit is lavished with rubs and licks, Amarna driving her absolutely wild with the powerful sensations she stirs up. The postlude is equally enchanting. It has to be said, the chemistry between this pair is off the charts!

Both of these amazing girls love to communicate and interact with their fans (yup, you can count me among that number!) so I look forward to hearing what they have to say about filming this scene. It certainly looks like it was an incredibly erotic experience. 

My SexArt Girl of 2014

My choice for Girl of the Year is entirely subjective, and I make no apology for that. It’s almost impossible to define why a certain girl gets under your skin – it could be a look, a smile, the way she says something, the way she touches herself... so many little things that grab your attention. Objectively, my girl of the year isn’t even really ‘my type.’ I like exotic olive skinned beauties – you already know about my major girl-crush on Spanish stunner Alexa Tomas, and I cannot resist Michaela Isizzu, Lorena or Alexis Brill – all sexy brunettes who have made my pulse race like crazy. We’ve also seen some standout movies from sizzling redhead Amarna Miller, closet dominatrix Suzie Carina, and blonde bombshell Tracy Lindsay – her four-part series ‘Love For Sale’ was surely the most controversial offering of 2014. It’s been a good year for amazing girls! No doubt you are already listing the names I’ve missed out here.

But… it’s my choice. And my Girl of 2014 has to be the irresistible force of nature that is Whitney Conroy.

It wasn’t love at first sight. I thought Whitney was cute when I first saw her in ‘Hotel Eden’, a Viv Thomas love story that cast her as the adorable girl who led Lorena astray. She was funny, sweet and softly curvy. She looked like the kind of girl you’d want to date or hang out with, for sure. But there were few clues that she would blossom into Diva Whitney. Dominant Whitney. Sexbomb Whitney. The 2014 version of Whitney Conroy is a girl who could effortlessly reduce me to putty in her hands (I wish!).

Over the past twelve months, Whitney has emerged as the girl to watch. She can play it all: seductress in ‘My First,’ fetishistic beauty in ‘The Approaching,’ insatiable temptress in ‘The Writer’ – she’s fascinating in every role. She’s especially hot when she’s expressing her inner dominatrix. ‘Lift’ is certainly a contender for best movie of the year, as Whitney spanks and ravages Margo in an elevator before succumbing to her lust for orgasm; there are so many killer moments in this movie I was inspired to write a whole blog post about it. I’ve watched it countless times.

Hot as she is in lesbian scenes, Whitney’s solos are equally compelling; ‘In Your Eyes’ is particularly delicious, as she flirts and teases us before putting on a spectacularly sexy show. And wow, does Whitney know how to turn up the heat! Whatever her acting skills may be when it comes to assuming a role, her orgasms are overwhelmingly, mind-blowingly, crushingly REAL. You’d have to be made of stone not to feel it right down to your core when this girl cums.

So to me it seems perfectly fitting that the final movie of the year, on the final day of 2014, gives us the most candid portrait of this multi-faceted star that we’ve seen to date. ‘Girls Love Sex – Mistress’ lets us get up close and very personal with Whitney as she opens up and shares an intimate sexual experience. She’s charming, and more shy than one might expect, as she reveals her story – an experience of being submissive that has clearly left a profound impression on her. Telling us about it gets Whitney so wet before she even begins to touch herself... I wonder what effect it will have on you?

I’m thrilled to see 2014 end with a bang – it makes me so excited to find out what the new year will bring. More movies from Whitney, I hope! Now I’d love to know, who would you pick as your SexArt Girl of 2014?

Ariel Rebel: my first experience of shooting for SexArt!

I masturbated in the bathroom, on the plane, on my way to Barcelona…

It’s not something I do often, but I was fighting the urge to do it right under the warm blanket, while sitting in my seat. It wouldn’t have been fair on the lady beside me trying to sleep. If it had been a hot guy, I would have probably take the risk, but you know... boundaries *^_^* lol! 

When I came out of the bathroom, I realized there were a few people waiting, and it made me wonder... did they hear my scream of pleasure through the bathroom door? Maybe. Did I care? Not really!

Looking through the window as we ascended through the sky, I fantasized about all the naughty things I was going to do to Lola Reve, Anissa Kate and Amarna Miller. A lot of dirty sex dreams had emerged from my first encounters with Lola and Anissa back in July 2013, while shooting my first DVD features under the Dorcel banner. We all had such a connection from the first glance, such desire and passion, which made the shooting even more exciting than I expected. I knew seeing them again would be incredible, and it was an opportunity that I couldn’t resist. When the talented director Alis Locanta contacted me about the possibility of shooting for SexArt, my heart jumped inside my chest and my tummy started to tingle. Ok, maybe not just my tummy! *^_^* Nervous, excited, anxious, overwhelmed… a lot of sensations went through my head and then down my spine. I felt all the little hairs on my body rising, leaving behind a warm and intense feeling of joy and excitement. After all, I had been a huge fan of SexArt for ages, and always wondered if one day I would also have the chance to shoot for the site. 

There is something about erotic and sensual pornography that really grabs me more than any other type of adult entertainment. It is for this very reason that I was happy to take control over my official website – ArielRebel.com – and my career, seven years ago. It meant I could start shooting the type of scene that is so exciting for me to perform, while pleasing my creative spirit by still keeping a very artistic, yet dirty twist. I would like to take this opportunity to say a big thank you to the SexArt crew for giving me my first chance… Now let’s all keep our fingers crossed so it happens again, ok?

As I anticipated, the scenes with Lola Reve and Anissa Kate were amazing. Lola, with her cute and spunky attitude, made me laugh so much while we were on set and off set. I also loved having another opportunity to taste her again. I was even more excited to know that she came down to Barcelona for this single scene, just because she wanted to fuck me again… So hot, right?  

Before she went back to France, on the last night, we cuddled for the longest time in our shared bedroom, enjoying some girly chat like two best friends that haven’t seen each other in a while. It was sweet and intimate, and I miss her already.

Funnily enough, Anissa Kate has always intimidated me a little. When I look at her gorgeous figure, AMAZING tits and beautiful eyes, I can’t help being envious of her sex appeal. She is more experienced than me and I wonder if I’m good enough for her when we shoot. I want her to dominate me, to tell me what she wants me to do to her, and direct me in realizing her hottest fantasies. I’m just her little sex toy. I let her use me as she wanted and it was awesome.

On my last day, I had the chance to meet the incredible Amarna Miller. Let me say this first – this was my coolest scene ever! Amarna is a natural, she loves sex, loves to eat pussy and it really shows. From the first second we met online, about a year ago, I knew we could be great friends, and it was confirmed when I had her in front of me. She has the cutest little manga voice and everywhere she goes, she seems to spread a little ray of sunshine that keeps everybody in a great mood. It makes sex with her very memorable. Too bad we live so far away from each other, because I would absolutely hang out with her every day if I could. I would gladly fuck her again on camera and off camera, any time! I cannot wait for you to see the chemistry we shared during our scene; I really think this one will be the hottest of the bunch.

Once again, I would like to thank everybody at SexArt for giving me the chance to spread my wings (and legs) for your awesome website. I hope you guys will enjoy the fruits of our hard work and I’m looking forward to meeting you all on the site!

Love,

Ariel xxxx

 

Life’s a beach – lust and location

Sand is one of the most divisive issues among SexArt members. There are those (like me) who admire how it looks on glistening, tanned skin – and there are others for whom it brings back memories of chafing that quite spoil the mood!

That makes me wonder: is realism an important element of erotica for you, or can a fantasy scenario carry a special frisson of excitement? I used to know a magazine editor who insisted that every picture he published had to be in a real-life location, and the girl had to be in a physical position in which you could actually have sex. It was an interesting policy, but it did reduce the scope for creativity! I also think it implies the viewer has no imagination...

For me, a gorgeous girl in an exotic outdoor setting is a pure escapist pleasure. I like photos and movies that transport me to a self-contained world with its own internal rules. That’s why Paul and Ilona Black’s films strike such a chord with me – brief as they are, they conjure up a vivid sense of an alternative reality. Likewise Alis Locanta’s new series ‘Incandescence’ – we don’t need the story explained, we are instantly immersed in the atmosphere he creates, divorced from reality as it may be.

I believe that sexual fantasies are an opportunity to let our imagination run riot, act without consequences, and do things that we might not dare to do (or even disapprove of) in our real lives. In my fantasy world, I can be a bitch, a slut or a slave – why not?

That said, the thrill of recognition you get from a scenario you have actually experienced carries a powerful erotic charge. Having worked for a while in a very permissive office, I do find myself drawn back time and time again to movies with a workplace setting! Maybe that’s why two of my recent favorites – Alexa Tomas in ‘La Cinco de la Tarde,’ and Margot and Whitney Conroy in Andrej Lupin’s wonderful movie ‘Lift’ – give me such a naughty surge of arousal.

What do you think – do real life stories or escapist fantasies do it for you? And is there a particular scenario you’ve experienced that you’d like to see played out on screen? Do tell!

Maverick auteur Paul Black talks about shooting erotica for the MetArt Network

If you think you know erotica, Paul and Ilona Black’s work is a game-changer. Their movies are dark, unsettling, sometimes even nightmarish – a far cry from glossy generic porn, with its emphasis on artificial perfection. They’re the perfect fit for SexArt (and its naughty sister site, The Life Erotic), marrying powerfully arousing imagery with a truly unique flair for the provocative. Their most recent movie for SexArt, ‘Red Vinyl,’ is the most strikingly original and memorable slice of erotica I’ve ever seen.

I vividly remember the night Jon introduced me to the Blacks’ movies. I binged until I’d watched every single one I could find. I just couldn’t look away. I’d scarcely caught my breath before scribbling down a long list of questions I wanted to ask Paul Black about their creative process. Like his movies, his responses were at once challenging, contrary and darkly humourous. This is a man who couldn’t be predictable if he tried!

Paul, your movies have a dark, often psychologically disturbing feel. Has that always been present in your work, or has it developed over time?

PB: Even though most of my life has been devoted to professional music, I have always considered myself an artist first; everything else – musician, operator, director – came second. As an artist I would categorise myself in the drama genre. For me, drama is one of the most powerful and vital trends in art. The psychological pressure that’s subconsciously in my movies is all the same thirst for drama. Of course, when filming erotica, any director is limited in artistic terms. As a rule, erotic videos (particularly modern, commercial ones) already have a well-established genre in which it’s difficult to make your own changes and not scare off the viewer. I started as a director and screenwriter in art house cinema, working in the genre of ‘psychological drama.’ That’s where I developed my style, which is partially seen in my films for the MetArt Network. When I first moved into erotica and hardcore, I decided I would shoot everything the same way I was shooting normal feature movies. Otherwise it wasn’t interesting for me. The first years of such experiments were fails. Everyone advised me to start shooting in the classic genre, but I continued to experiment, and listened to no one. In any movie, be it erotic or feature film, what is important to me is the atmosphere. It can be in any style, but it should evoke emotion. Of course, the combination of an explicit erotic story and a dramatic atmosphere can lead to something similar to the horror genre. I have no way to deeply immerse the viewer into the story, and so contrary to my wishes, the movie has only a surface atmosphere – like horror films. That’s why the viewer may feel the movies are dark and perhaps even negative. But it’s always a happy ending!

Where do you draw your inspiration from – movies, books, music, dreams?

PB: When I realized that my calling was cinema, and not music (although I spent fourteen years in a music group) I immediately paid attention to the outstanding Russian film director Andrei Tarkovsky. Before watching any of his movies, I realized that his point of view was similar to mine. I made that conclusion after reading one of his screenplays purely by chance, when I was learning how to write scripts. Just from his script, I felt the vibrant atmosphere of the movie, and I began to study the details of the scenes. Tarkovsky shot all of his movies in an exclusive, personally invented genre, which has not been used before him, and no one took up after his death. This is a unique director and unique genre. It’s uniqueness is in perfectionism. His every shot is a whole and well-designed work of art. In the words of Tarkovsky: “There are two basic categories of film directors. One consists of those who seek to imitate the world in which they live, the other of those who seek to create their own world.” I include myself in the second category. Let it be a crazy world – but my own. Of course, filming erotica in the genre of Andrei Tarkovsky isn’t in my ability range, and there’s just no need for it. But his world view has certainly left an imprint on me. Another director who is very different to Tarkovsky, but who also influenced my work, is David Lynch. If from Andrei Tarkovsky I studied the visual arts, then David Lynch attracted me with the psychological component to his work. They both created their own world! From the world of erotica, of course, Tinto Brass (although nowadays it’s difficult to watch without laughing). I will say briefly about music: I love all good music. Genre doesn’t matter. I myself, am a former rock musician and have a bunch of favourite bands. But if we’re talking about most favourite, that would be classical music – Johann Sebastian Bach. Concerning books, I’m not a big reader (I’m too lazy to read). As for the inspiration for a movie, it can come from anywhere: images, dreams, thoughts, or even my own desires.

What genre of mainstream movie do you enjoy, and do you think this influences your erotic work?

PB: Art-house cinema and auteur films. Mainly in the genre of drama. There are heaps of film makers who shoot good movies. It’s a pity that many of them aren’t known to the mass audience. As for purely commercial Hollywood cinema, I am indifferent to it. I don’t mind these movies and I think they are necessary and often watch them myself, but it is like, ‘watch and forget.’ But the auteur films definitely affect my work and even my outlook on life. This is why these movies exist – changing lives for the better.

What drew you to shooting erotica?

PB: I started with feature films, nothing erotic. In my first experiment, I got straight into the professional field of cinematographers, which I didn’t expect. As an amateur dreamer, I immediately got the role of director of a large project with the support of Riga Film Studio and a branch of the company Universal: a professional film crew, honoured artists from the former Soviet Union, plenty of legal issues – and a lot of haemorrhoids! This project got into the International Moscow Film Festival right away – the first project which got to a festival of this level since the collapse of the Soviet Union. So the local film makers took me seriously immediately. Into erotica I came after the silver screen showed me its teeth. Luck turned away. I didn’t finish my own movie. The crew ran off. There were a lot of reasons – one of them funding. There weren’t enough funds to make the movie the way I wanted to. So I thought it’s better not to make a movie at all rather than make a bad movie. And I didn’t have enough experience at that time. That’s the reason I came to erotica. I’ll spend ten years shooting erotica in a cinematic genre, will gain experience and then come back to the big screen. This is what I’m doing now.

Your ideas are often quite bold and challenging. Are you a non-conformist in other areas of your life, or do you channel it all into your work?

PB: My main world view, I put together as a child. I’m not one of those people who often changes their outlook or opinion. I add to it with age, but the key points remain the same! As for society, I never understood it and it never understood me. But over the years I got used to it and I can’t say that it disturbs me. There’s a small number of people with whom I’m interested in spending time and they understand me, and that’s enough for me. At work and in my personal life I’m the same, everything is intertwined. For the majority of people in my homeland, I’m probably more abnormal than normal. But I think that the problem isn’t in me. I live in peace with my conscience, I prefer to tell people the truth and not be a hypocrite. But the truth is not always pleasant to people who are used to having a slaves’ outlook in the seventy years of total control of the population of the USSR. The Soviet Union is long gone, but the society in which I live is still steeped in the values – that are not actually values, from a logical point of view. Yes, I am a person that doesn’t recognize traditions, manners of a society or period. I live only on common sense and my existence in the twenty-first century. And I don’t bother anyone. But my society claims that I do. I live in Europe, but where there are European values it’s bad for most people. So I swim against the tide in my personal life and at work and I’m not afraid. As sung in one song, “Do not cave in under the changing world, it’s better the world will bend under us!”

Does your Latvian heritage influence your work?

PB: “Latvian heritage” isn’t really the right question. I was born in the Soviet Union, in the Latvian SSR. Latvia under the Soviet Union and independent Latvia are two different things. Independent Latvia has only existed for a very short period of time, and honestly, it’s doing very, very badly. I don’t even know whether there is a “Latvian heritage,” I know nothing about it. Good movies in independent Latvia aren’t made, good music either. Latvia doesn’t have time for creativity! But if we talk about the Soviet Latvia, then, of course, there were good movies and good music. But it can hardly be called Latvian heritage. It’s a Soviet legacy, which is closely linked with Russia. It’s the Soviet legacy that, of course, affected me and my work. For example Andrei Tarkovsky, before he left to live in Europe, began his career in the Soviet Union. And his most successful films were made in the USSR. Despite the fact that I don’t like totalitarian government and I love freedom, I am proud of the Soviet Union. I think that it’s the best thing that has happened to Russia. The USSR was unique, though with a lot of drawbacks. Soviet movies were totally different from American films, and this was their advantage. It had its own style. I still with great pleasure watch these old Soviet movies. As for the new Russian cinema, I’m completely indifferent! It’s the same as American films, but poorly made due to low budgets.

Your studio is quite unique and fascinating – how do you create its look?

PB: We try to make all props with our own hands, that’s the only way to make them as planned. We have enough experience in creating interiors from our own ideas. Over the years, we have mastered a lot of professions: from welding to tailoring, from electrical engineering to decorating. The basic experience, I personally got in the construction of scenery for my feature film project. It’s simple, when you’re interested – you do everything step by step, piece by piece, and most importantly, think it all through. Sometimes it’s better to think more, than to do. We gained a lot of experience on the BDSM porn project. We had quite a big team, and the project was very large. All the devices and props were made with our hands. We had our own engineer and electrician. I myself learned a bunch of crafts: welding, blacksmithing, carpentry, and others. It was on this project that I met Ilona, who was invited as a photographer. That’s where we got the idea to work together, even after the end of the project. In recent years, it was mainly just the two of us working together. And, of course, we are very limited in artistic and technical capabilities. But recently we decided to go back to the larger shoot: recruiting a team, developing our studio, in which we are going to build interiors, we’re buying antiques and other props. Generally moving to a new, more complex and large-scale stage, like in cinema.

Do you work with a prop builder or do you like to do all the work yourself?

PB: At the moment there are three of us working. Me, Ilona and a technical assistant. Our technical assistant also has a variety of professions, including construction. But everything is done by the three of us. I am very demanding about details and hard to please. So I try to participate in all aspects of preparation and shooting. Otherwise, I’ll start redoing everything! Anyway, the director simply must take part in everything. We’re not making movies large enough for me not to have time for the construction or selection of clothes. If there’s time, it’s better to do everything yourself. So the three of us are carpenters, tailors, painters, designers and porters!

Can you tell us more about the studio?

PB: It’s 300 square meters, which is necessary for the construction of large sets for our ideas. It’s very difficult to work in ready-made interiors. The search for them takes a lot of time, and it’s almost impossible to find a finished interior which exactly meets our artistic requirements. I’m not even talking about the convenience of interior lighting and other technical details that can only be realized in a stationary position. That’s why big movies are shot on studio sets. Shooting erotica in similar hotels, that all look the same, saddens us. Yes, you have to work less, but the result should be more important than laziness. We don’t have any special story ideas at the moment. The studio solves the issues with the interior, and the plot ideas come and go. We do have plans that include an idea of a mini series in the genre of steampunk. Those who know this genre, will understand how difficult it is from a visual standpoint and how hard it will be to work on the decor. With respect to the storyline, there are several options, but we are still thinking about it. Perhaps it will be a series associated with various sex machines. But I know for sure – erotica in this genre has never been done before!

How do you plan and script your shoots?

PB: Before each shoot we write a detailed scenario. Every frame, every action, every emotion of the model, sound and light is clearly written in the script in advance. Usually a script for a movie is five pages of A4, about five scenes and seventy main frames. Improvisation is permissible only in the last scene. Prior to that, the model does what is written in the script. There I’m an uncompromising man. If the model isn’t getting it right, then we shoot take after take until she gets it. Ninety-nine percent of the models on our shoots end up in a state of shock. Since they are not used to working with such scenarios, it takes a very long time to get used to this way of filming – many run away from the shoot. I only feel the artistic emotion when writing a script. During the filming, it’s purely technical work.

You specialise in the ‘short, sharp shock’ for SexArt – very complex ideas explored in a very brief time frame. Any plans to shoot some longer stories, or do you prefer just to tease us?

PB: Heh! I don’t believe that the length of the frames in our films are ‘short’ or ‘prolonged.’ The frame shows exactly as much as it was created to show. The duration of the movies isn’t long on SexArt. If you take a big movie, which lasts one and a half hours on average, you can show a whole life. And in our movies we have only one scene – masturbation. Why stretch it? I would make it even shorter, about five minutes. That’s enough to see the process even wrapped in a movie wrapper. I’m also a big opponent of the view that when shots change rapidly, it’s impossible to see something. Something is still possible? That’s what I want the audience to see. It’s not a static image, which you can watch as much as you wish. Films are vivid pictures and frames. Put together, they give an overall picture of what is happening, even if they change frequently. Take any Hollywood movie, there is a frequent change of frames, and to me personally, everything is clear. Although there are those who complain about this, they say, “too fast, nothing is clear, too dark.” Reminds me of my grandmother, when she first saw a clip of Michael Jackson: “Oh, everything is so fast that nothing is clear.” But she’s a grandmother and saw it for the first time, so it’s forgivable. She just has to watch carefully and train the brain for quicker analysis! The twenty-first century is the century of speed! I don’t think that the process of masturbation is very different from a similar scene in the cinema, and there it’s lively and concise. It’s old school, that the frame should last at least five seconds.

Is there a SexArt or The Life Erotic movie that you are most proud of?

PB: Most likely not. I would say that there are bad movies, and movies that are more or less okay. I’m always unhappy with the result. I’m like that. To make a film, showing the most of our abilities, we need other opportunities that we don’t have. It’s time, technical possibilities and other circumstances. At the moment, we do things based on our capabilities, rather than abilities. My idea of a good movie, which I can be proud of, is levels higher – by all indicators – from what we are doing now. That’s why now we decided to move to another, more challenging phase of filming. Let’s see what we will turn out. But for now I’m still not happy with the result. For that, I’m not liked by models and sometimes the team. Nobody will ever hear praise from me...

Which movie was the most challenging to shoot?

PB: It’s difficult to answer this question. Each film is unique and each has unique difficulties. I’ll reveal a secret – the atmosphere at our shoots is horrible! I’m a very demanding and also nervous person on the set. Any of our shoots is a mini stress for everyone. Therefore, no one loves the process of filming, and many models absolutely don’t want to work with us. Everybody likes it when it’s finished. Working with models is difficult for our genre. Not all models quickly get into the heart of the process. Not everyone can act. Not all understand what’s happening. I don’t know how other people shoot and how they manage to keep calm, but our shoots take place in a very nervewracking atmosphere. First of all, the models can’t always do what we need them to do – it’s very rare that they can. Second, we have a lot of technical difficulties, which – as far as I can judge – others don’t. We simply don’t have enough hands to work properly. I’m also very demanding about details, pedantic, in fact. We spend a lot of time and effort on things that it is quite possible no one will even notice, but if they are noticed, then it will only be by someone who understands such things. But I can’t decide for other people, “will they notice or not?” We must always do everything perfectly, as if for ourselves.

Do you have a muse – a model who particularly inspires you?

PB: I think not. Of all the models I’ve shot, I haven’t yet found one that would be one hundred percent right for our genre. It’s not models that we need, but actresses. But, actresses don’t film in such frank erotica. The model that best copes with the tasks is Raeah. Usually, with her, the shooting takes place with minimal conflict! And, of course, if everyone played and understood the process of filming like Emily, then the level of shooting would be much higher. But Emily isn’t a ‘model.’

Does it take a particular kind of girl to rise to the challenge – you are asking them to do so much more than just look pretty?

PB: Ha ha ha!!! For the models we’re a silent (or loud) horror! There hasn’t been a single model that didn’t say something like, “I’m shocked, I didn’t think it would be so difficult! I wasn’t warned that this was such a nightmare, I want to go home...” They all say roughly the same thing: “No one shoots such complex scenarios. Nobody takes that long. No one takes so many plans, takes, parts, bottles, buttons, and so on.” They don’t understand why we shoot an orgasm ten times. Why it’s necessary before each shot, to stay still in the correct position and analyse the previous frame. Why are we constantly managing props, light, focus. Why they can’t move after each frame. Models get a good lesson and remember our shoots for a long time. For the next director who will be filming her after us, it’ll be much easier to work with the model. But in the beginning, they’re all spoiled and capricious. But after five hours of filming, they  begin to understand that nothing will be over, unless they do what’s asked of them. Some even run away!

How do you get the model into character?

PB: Any emotion on her face is thought through and written by me, up to the point of me rehearsing it in front of a mirror. Another thing is that often the model can’t repeat fifty percent of what is written in the script, and instead of getting the correct emotions, I get something else. But I’m sure that if I don’t demand the maximum, then I won’t even get a minimum. So I always fill the script with complicated things. Often the models have gloomy emotions, and it’s their actual real emotions. As I said, we have a gloomy atmosphere on set and models have a similar emotional outcome. Our models more often cry than smile. I used to try to be patient, but then realized that this tolerance to the models reflected badly in the movies. I’d rather have the models hate me, than make a movie where the models act like in a porno, restrain smiles, look into the camera, and so on.

Yourself and your wife Ilona obviously share a powerful creative vision – do you find yourselves discussing shots over the dinner table?

PB: Ilona is the second director, and from scripting to the last stages of working in the recording studio, we do everything together. Also many scenarios and ideas are fully owned by Ilona. The only division of responsibilities occurs during the assembly of the film and photo processing. Everything else we do and come up with together. Yes, of course, we often talk about the shoots. It also happens in the middle of the night. It may occur during lunch and in the bathroom and even during a visit to my family or friends. It’s an essential part of our lives and all of our loved ones are up to date about it.

Has Ilona influenced your portrayal of women on film?

PB: No, I don’t think so. Images of the models in the films aren’t really worked through. We want to correct this situation and begin to pay more attention to it. Before, often, the appearance of the model didn’t correspond with the film. But, of course, there’s a common style and understanding of how the model should look in our movies. The key aspect here is simplicity! The most frequent difficulty lies in the fact that the model is too glamorous, and we have to wash the whole thing off to somehow infuse her into our film. But sometimes there’s just not enough time.

What do you hope your viewers get from your movies?

PB: I still don’t know what the audience wants. First of all, the audience is diverse. One needs one thing, another something else. Someone will say they got aesthetic pleasure from our movies, and the other will grumble that they didn’t have time to see something there. But, of course, I have an idea of what type of audience will understand our films. If a person has an aesthetic artistic taste, they will appreciate and understand our films at least from that point of view. If a person is just in need of an orgasm, it’s unlikely. It’s probably almost impossible to masturbate to our films – I wouldn’t be able to! But there’s porn for that. Our movies are for careful reviewing by certain people – and such people do exist, I know.

If you think you might be one of them, take a look at Paul and Ilona Black’s movies. I guarantee your view of erotica will never be the same once you do!

 

Censorship in the UK

Last week, an amendment to the 2003 Communications Act was passed through UK parliament. The Audiovisual Media Services Regulations 2014 states that video-on-demand (VoD) online porn is now subject to the same guidelines – implemented by the British Board of Censors (BBFC) – as DVDs sold in UK sex shops.

There is no restriction on people watching pornography shot in other countries, so in actual fact British folks will still be able to watch whatever the hell they want. It’s the content creators who will really feel this restriction on their creative freedom – especially those that cater to more specialist or fetishistic tastes.

Two major criticisms levelled at the restrictions are that they appear to make no distinction between consensual and non-consensual acts between adults; and that they seem to target acts from which women in particular derive pleasure.

The list of things now considered unacceptable, and so which cannot be depicted by UK pornography producers, includes:

  • Spanking
  • Caning
  • Physical or verbal abuse (regardless of whether consensual)
  • Urolagnia (known as “water sports”)
  • Physical restraint
  • Humiliation
  • Female ejaculation
  • Strangulation
  • Facesitting
  • Fisting

Now, there are several things on this list that I have no particular interest in watching, and one or two that I might quite enjoy (spanking – ooh, yes please!). But as a Brit myself, what I really object to is being told what I ought to consider ‘nice’ or ‘normal’ sex. It’s patronising… and I rather fear it’s the thin end of the wedge. 

Samantha Bentley talks about shooting ‘Love For Sale – Milestone’ for SexArt

Samantha Bentley is a compelling, often edgy performer with hypnotic eyes and an eye-catching figure. The 27-year-old British babe started out as a glamor model around seven years ago, then began making solo movies, and then girl-girl, before “stepping over to the dark side” of boy-girl movies in the summer of 2012. Her latest starring role at SexArt, in the controversial and thought-provoking ‘Love For Sale,’ has got us all talking – which gave me just the excuse I needed to chat with this entertaining and articulate beauty!

Samantha, you’ve worked with director Alis Locanta three times for SexArt now, in three very different movies. First, ‘Spanglish,’ a cute and playful boy-girl scene; then a loving and intimate girl-girl with Amarna Miller; and now this intense and challenging scene with Tracy Lindsay. Can you tell us a little about each?

SB: First off, Alis is one of my all time favourite directors. I’ve been around the world working extensively in this industry, and I have a few favourite directors that stay in my mind and Alis is definitely one of them! My first scene, ‘Spanglish,’ was amazing, the chemistry was so real. I remember it being a very sweaty scene, as it was so hot being August in Barcelona. Franck and I spoke little to none of each other’s language, but communicated incredibly throughout the scene. It’s very playful and passionate. 

The scene with Amarna was easiest. We shot it in one take and we didn’t even realise how long we were having sex for. It was incredible. Chemistry like that is so rare and so nice to find. I love women, so when I have a connection with a girl like the one I have with Amarna it’s amazing. 

The scene with Tracy was a hard one for me, and I know for Alis as well. Tracy and I had incredible chemistry, I LOVE this girl (who wouldn’t) but shooting anal for a site like SexArt is always going to be a tough one. Ultimately, this is my favourite scene, aesthetically. 

You seem to really enjoy the acting aspect of each role – how important is it for you to have real chemistry with your co-star?

SB: It’s the most important part of my job. At the end of the day, all porn is a performance and I do enjoy the acting elements but if I don’t have a connection to the other performer it can make for an incredibly difficult day. Obviously you can’t have chemistry with everyone – my ratio is pretty good, I’ve been very lucky.

Tell us a little about shooting ‘Love For Sale’ with Tracy. How did you get into the mindset for the role?

SB: Like I said, this was a hard scene for me. I wasn’t aware of the story so I didn’t really know what it was about until I got on set. I trust Alis as a director and Tracy is amazing but I found it quite hard to get in the mindset.

You seemed to enjoy taking the dominant role – is this something that turns you on? Do you also like to be submissive?

SB: Actually I am completely submissive, that’s why I found it so hard to get into the mindset for the role. I’m not a dominant girl sexually, I enjoy being controlled and dominated… I loved the scene but the whole time all I could think was: I want the ball gag and the anal :-(
 

This scene is quite groundbreaking for SexArt, featuring anal play between two girls, as well as the sub/dom aspect. Do you enjoy anal? What would you say to our members who think girls aren’t really into it?

SB: A scene like this is always going to divide members. It’s incredibly daring for a site like SexArt that prides itself on beautiful erotica. However, this scene is beautiful erotica. There are always going to be closed minded people that refuse to acknowledge that actually women can and do enjoy other aspects of sex that are more adventurous…

I’m aware that, as a performer and due to the kind of work I am sometimes known for (more aggressive hardcore, particularly my scenes with Rocco Siffredi) I also divide members on the site. I think it’s unfair for members to hold a premeditated opinion of me because I have shot for other companies and enjoy both the hardcore and the erotic sides of sex.

For me, anal is about as pleasurable and as intimate as it is possible to get. The orgasms I achieve from anal sex are the best I’ve ever had. I’ve read some comments about how anal is ugly and unerotic and women don’t enjoy it. I can’t believe how many people are that closed off from reality. Maybe anal isn’t for everyone, just like foot fetish, bondage, hair on my pussy, girls with tattoos... Everything is based solely on your own opinion and just because you don’t like anal doesn’t make it ugly or unerotic, and it definitely doesn’t mean women don’t enjoy it.

You seemed very confident wielding that strap-on – Tracy’s reaction after she orgasms is priceless, she looks shaken to the core! Is it a turn-on to know you can drive your partner crazy like that?

SB: Yes of course! One thing I enjoy is giving pleasure to others, I’m definitely a giver. Also, as I practice anal regularly, I think I was a good choice for the role because I know how to perform anal in a way that’s both comfortable and pleasurable for girls (not to blow my own trumpet or anything).

How easy do you find it to cum on camera?

SB: Very easy. I’m an orgasm hog. 

SexArt is known for doing interesting productions and storylines. What would be your fantasy movie to make?

SB: I’d love to do a sort of love addiction story, something intense and a bit surreal but also with dark edges… Romeo and Juliet for the new ages...

Will we ever see you move onto the production side?

SB: I would love to! We will have to wait and see. 

Finally, I have to ask – just how big are those spectacular boobs?

SB: They go between a 32 D and DD, depending on the day! 

Brains, beauty and boobs – what's not to love? I can't wait to see what Samantha does next. One thing's for sure... it certainly won't be boring!

 

Killer moments with Whitney Conroy!

I remember the first time I saw Whitney Conroy, in a Viv Thomas film called Hotel Eden. She played the fun and flirty babe who tempted Lorena away from her girlfriend, and she suited the role perfectly. With her sunny smile and soft, girlish curves, she was a breath of fresh air – and she brought a natural energy and playfulness to the sex. It was clear she was a talent to watch, and how exciting it has been to see her mature into a multifaceted star in such a short space of time. Still only 21 years old, Whitney has become a sophisticated, highly erotic performer who has been fittingly described by a SexArt member as a “sexual tyrannosaurus”!

In today’s new Andrej Lupin movie, ‘Lift’, there are so many superb moments that capture her unique appeal. We get to see classy Whitney, looking stylish in her spectacles and business attire, her hair in a chic updo. Her directness – stopping the elevator with an appraising look at Margo, which conveys her lustful intent perfectly, tells us everything we need to know – this is a confident, powerful woman who knows exactly what she wants. The expression on her face is Killer Moment #1. No wonder Margo does not put up even token resistance as Whitney pins her against the lift wall for a voracious kiss.

My heart started to beat a little faster as Margo pulled up Whitney’s skirt to display her lace stocking tops; Whitney has an amazing ass and it looks delicious framed by sexy stockings. Killer Moment #2, for sure!

Killer Moment #3: Whitney turns Margo around and spanks her bottom before pulling her panties down around her thighs. I love the way she takes control. She seems almost masculine in her dominance and appetite, but utterly feminine in her beauty. It’s an irresistible combination.

Killer Moment #4: Whitney keeps a hand clamped around Margo’s breast as she goes down to eat her pussy. The ravenous onslaught of her fingers and tongue has Margo moaning with delirious pleasure. Rapidly followed by Killer Moment #5: Whitney offers her sticky fingers for Margo to taste her own pussy juice.

Killer Moment #6: Whitney perches a stocking clad leg up on the handrail of the elevator, giving Margo access to her splayed pussy. After this – I’ll be honest – I lost count. It’s THAT good. The sight of Whitney, shirt pulled open, legs spread as she rides Margo’s hand, is overwhelmingly pleasurable; and her orgasm shakes her to the core.

Can you tell you much I love this girl? I think she’s something special, and I enjoyed this movie immensely. I’d love to hear about your favorite Whitney moments…

Love For Sale: Harder + Cross-dressing – Review, Part I

When Tracy “think(s) about the universe”, she can’t help but think it ever expansive, ever alluring, and yet ever elusive: a grand canvas of intriguing possibilities that seemingly always exceed her grasp. “(Her) only desire (is) to (attempt to) explore it, (understand it) and experience it as fully as possible”. It seems that for her, these sentiments apply to sexuality also, and, though only now becoming consciously aware of it … love too.

His bravest, boldest, grandest, and yet most emotionally intimate work to date, the interestingly titled ‘Love For Sale’ is Alis Locanta’s ‘Interstellar’: an ode to humanity’s ‘universal’ [intended as polysemy] experiences with the complexities of love and sexuality.

Sexuality

When we first meet Tracy her views on love and sexuality are divorced, sentiments distinct of one another, each represented by a separate life: one of “light”, which she presents to the outside world, and another “behind the door”, her “dark” and “secret” one. The intelligent woman she is however, Tracy understands that there are no ‘Secret(s): [Vol. 2]’ to it. Though invigorating, her first foray into prostitution involves a rather icy Dom/Sub encounter, one lacking fulfilling ‘Heat: [Vol. 2]’. Yet Tracy seems to have acknowledged this fact, accepting that she’s fundamentally a ‘Slave: [Vol. 2]’ “ready to sell what (her customer) wants”: a service through which Agatha is able to push and test the limits of her sexuality. And for now, Tracy seems introspectively resolved to play her role as the “bought and paid for” prostitute. 

Her meeting is essentially a ‘Ballo: [Vol. 2]’ for one; or more accurately, a Ballo for each. I say that because, given her articulations, Tracy’s profession seems to provide a satisfying scenario to her also. Through prostitution Tracy’s able to earn a significant sum of money, and thus make a comfortable living; but more significantly, she, like her customers, is able to ‘comfortably’ satiate “the dark side of (her) nature”, her “secret” life.

Though at this point in time she may believe otherwise, I don’t think Tracy’s role as a prostitute, and the impact it has upon her life, or lives, is as unimportant or uninfluential as her soliloquies suggest. In fact, the contemplative, “complicated” and perplexing being she is, Tracy regularly contradicts her own minimalistic assertions about how the universe “puts all our little lives into perspective”: a distinct sign she’s still learning. On the whole, Tracy’s story is far from “black and white, easy or simple”; it’s a grand explorative journey as she discovers that her life and desires are “bigger than (prostitution and sexuality), so much bigger”.

A Kiss That Changed Everything

Yes, “it’s fucking hot”, but for my liking, Tracy’s life “behind the door” is not what she, or we for that matter, would consider to be ‘truly’ fulfilling. I don’t get the feeling Tracy genuinely wants to be a prostitute. Given the fact that she’s expressed a desire to “never ever want to go back” however; I think it’s safe to say she immensely enjoys being ‘used’ as one. Despite this, I think she’s searching for something deeper and more complete; something that perhaps amalgamates with sexuality… and it was a single kiss that informed Tracy that such a thing exists. 

Through that kiss and its aftermath, we’re able to gain sincerest psychological and emotional insight into how Tracy currently views herself, her lives and consequently, her ideas of love and sexuality. Her pensive reaction and its eventual outcome; an ensuing encounter supposedly “dealing in sincerity (and) passion” with customer number two (Amarna); indicate that her attitudes are changing.

(Nearly) Love

No longer ‘going gentle into that good night’, prostitution venture number two finds Tracy throwing herself enthusiastically into the unknown yet again. This time around however, she’s a little wiser, a little more informed, but at the same time, a little misled.

Tracy begins to postulate how we as humans are often “afraid” of exploring the “dark side of our nature”, particularly within our intimate, loving relationships. Her thoughts ‘St(r)ay’ toward feelings of vulnerability and judgment, something we personally, (for the most part), cultivate in so-called ‘true’ love. “Afraid to talk about it”, we’re uncertain as to what we “can safely explore without going too far, or becoming something or someone else’. Thus we “(deny our) freedom and (deny) who or what (we) really are”: “giv(ing) up (our) ability to feel, to express, and to experience truthfully”. Ultimately, (and again, for the most), we contribute to own sexual dissatisfaction, which for whatever reasons, drives us to search for “what (we) want (somewhere) else”. I think what Tracy wants is someone she can love warmly and deeply, but at the same time with dark “energy and passion”: a princess/prince on the streets and a prostitute in the sheets. Unfortunately it’s those misunderstood sentiments that take Tracy’s journey on a heart-wrenching turn.

As reliable a narrator as those in Shakespeare’s ‘Hamlet’, Tracy is unable to perceive the flaws in the evolution of her thinking pattern. That one powerful kiss and her subsequent encounter with Amarna have deluded her into believing that love can be found in prostitution. But the metaphor of something fake existing between these women cannot be ignored. Tracy is still a “bought and paid for” prostitute, and as much as our title suggests otherwise, prostitution is ‘Sex For Sale’. 

Yet as I’ve said above, Tracy’s life and desires are “bigger than (prostitution and sexuality”. She and her customers are not so different from each other. She’s a prostitute for the same reason her clients use her, and yet they, like her, are searching for sex in that form because they’re desires are not being satiated in loving relationships either. These women aren’t searching for sex per se; they’re searching for a loving relationship that is sexually fulfilling. And for all those “hours and hours (spent) gazing at the stars and wondering, (if) maybe there was someone like (her) on a another planet, thinking about the same things”, all Tracy needs to do is turn her gaze to the answers right in front of her…

End, Part I.

Your thoughts and feedback please. It would be immensely appreciated. Tell me what you think about Tracy and her journey so far and where you think it’s headed… I have an idea, but I’d like to hear yours first please.