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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.


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.

Ariel Piper Fawn talks about shooting for the MetArt Network!

Filling the shoes of legendary filmmaker Viv Thomas might seem like a daunting task, but not when you have the inspired team of director Andrej Lupin and producer Ariel Piper Fawn on hand!

Andrej is a renowned director here at SexArt; Ariel needs little introduction, having been one of our most popular models before moving into her highly creative production role. There is no doubt her understanding of female sensuality and eroticism has played a huge role in reinvigorating the Viv Thomas brand since it became part of the MetArt Network.

The dynamic duo came in with a bang with the compelling ‘Sexpresso,’ and followed it up with the even more impressive ‘Domestic Desire.’ We’re now seven movies in, at the time of writing, and each has been entirely individual in terms of plot and production style. I can’t wait to see what they come up with next!

I was lucky enough to bag the enviable task of chatting to Ariel about the vision she and Andrej have for Here’s what the delightful redhead had to say:

Ariel, you shot with Viv Thomas several times – and you were an incredibly popular model on the site! What was it like working with Viv?

APF: I loved every shoot I did with Viv. It had a lot to do with their style – clothing, make-up, different locations, storylines – the kind of thing Andrej and I enjoy shooting now. I liked that the scenes fitted into a story, it was so different from the work I did with other directors. What I really remember most from the shoots was Viv himself. I always loved him, I felt like he was family to me.

Which was your favourite of the movies you appeared in?

APF: Summer Camp Secrets. I really enjoyed the whole experience. Work, girls, crew, dinners, fun, locations – we had a great time!

How do you and Andrej feel about taking over the reins and shooting movies for

APF: It is an honour for us! A lot of members on the site have been worried that we would just make the movies similar to the work we do for SexArt, but we don’t want to do that. We already see a lot of differences in the way we shoot for VivThomas, and we have more changes planned. The offer to shoot content for VivThomas came very fast, and I think we are improving our work with every production. We want to bring our own vision, but combine it with the magic from the classic VivThomas movies.

Do you think having worked with Viv gave you a better idea of what the VT fans like to see?

APF: I’m not sure about that, because tastes have changed over the years. When I worked with Viv the equipment and production methods were quite different from what we use now. Also, we always had very strong make-up; I would love to bring back the old-fashioned make-up and styling, but I’m afraid people would not like it!

Can you give us any hints about what we will see next from you?

APF: We are busy planning our next shoots, but I don’t want to give away too much! We read all the feedback from members, we want to learn from it and do our best to make people happy!

Classic Viv Thomas magic, Andrej Lupin’s brilliant direction, and the super-sensual vision of the exceptional Ariel Piper Fawn? Sounds like a recipe for extraordinary erotic art to me!


The laws of attraction – why I love Alexa Tomas

As a blue-eyed blonde English rose (named Rose – I guess my parents had no imagination!) I find myself drawn to girls very different from myself. Naturally I would not kick a blonde bombshell like Whitney Conroy or Tracy Lindsay out of bed, but the beauty who catches my eye in a crowded bar is far more likely to be an olive-skinned temptress or coffee-coloured cutie. Or a flame-haired fox, but you already know about that!

Hispanic girls are my weakness. You remember that song ‘Latin Girls’ by the Black Eyed Peas? That’s the soundtrack to my summers. And when I hear a pretty girl speaking Spanish – especially if she’s looking into my eyes and saying something really naughty – I go weak at the knees. So, no wonder the new episode of ‘Girls Love Sex,’ starring Valencian honey Alexa Tomas, gave me such a thrill of anticipation.

I first saw Alexa in ‘Io Ballo Da Sola 2,’ which was released on SexArt in early September – and 40 seconds in, I was hooked. Singing (badly, as she charmingly admits in today’s interview) and dancing along to music only she can hear through her headphones, Alexa is the epitome of the vibrant, sassy, effortlessly sexy Spanish señorita. As her high spirits turn to arousal and she begins to touch herself, it’s clear she is very comfortable in her own beautiful skin.

It was a delicious introduction, but it was her next movie, ‘La Cinco de la Tarde,’ that really made me fall hard. Alexa is seen abandoning her desk at precisely 5pm to keep a promise she made to her lover, masturbating as she thinks of him. It’s stylish, sensual and very erotic, with a sensational orgasm. The postlude is another revelation, as at last we, the viewers, get to enjoy the full intensity of Alexa’s lustful gaze.

No surprise, then, that today’s new episode of ‘Girls Love Sex’ has me at fever pitch. First we get to see Alexa talking, in her melodious native language. She is confident, animated and engaging, and she has such exquisite bone structure that you just know she will be a beauty her whole life. As she vividly describes an experience she had with some girlfriends, it feels like she is exposing her personal sexuality to us; her pleasure in her own erotic awakening is a thrill to watch. Long, tanned legs spread, she treats us to a spectacular view as she rides her fingers to a noisy and prolonged climax. The postlude again shows us another side to Alexa, her flirtatious nature to the fore as she wriggles her lace-clad booty in our faces. I’m utterly smitten…

Do you love Latin girls too?

"Love for Sale" — Mr. Locanta's Erotic Opus...

Collaborating with a visionary filmmaker takes a writer on a trip from the vastness of outer space to the intimate, intricate confines of the human heart and soul.

I've just seen the first episode of Alis Locanta's soon to be released four-part series, "Love for Sale." When the director told me this was, and I'm quoting directly, his "best work to date," he was not exaggerating. And I have to agree with him. But there's a story that needs telling before I tell you more about the film itself. And that story helps explain why Alis Locanta and I were having a conversation in the first place.

In addition to my weekly posts over at the Metart blog, and my more sporadic contributions in this space, I've been writing the synopses that accompany every Sexart erotic feature for nearly two years. And after watching and describing well over two hundred films I decided to write a Sexart screenplay of my own.

That screenplay was well received, I'm happy to say. And, in fact, it's already been produced, and should be released in the near future. It's called "The Morning After," it's the first feature Alexa Tomas ever shot for Sexart, by the way, and I'm very pleased with the film and the entire experience of seeing it to completion.

But, more importantly than all that, writing "The Morning After" served as my introduction to Alis Locanta. And it opened the door to a unique and rewarding opportunity.

During the production of "The Morning After" Alis casually mentioned a project he'd been working on for some time. I was intrigued, of course. Then he asked if I'd be interested in collaborating on the project with him. It took me much longer to type this sentence than it did to answer: "Yes!"

This led to a round of lengthy conversations during which Alis described, in minute detail, his creative process and the way he structures and executes his productions, with a bit of biographical info, philosophy, and film theory thrown in. He

 also told me, in the broadest of outlines, about the project titled "Love for Sale." Then he sent me his original screenplay for Episode 1.

Once I'd read Locanta's script we had further conversations about his vision and what he hoped I could contribute. I wrote and revised. He read, wrote some more, and revised. And so forth, until we had a polished final draft we were both happy with.

That first episode was the heaviest lift for me. Once Alis and I were both on the same page — both figuratively and literally — getting Episodes 2. 3, and 4 finished was a lot easier. And that ease came in handy because I was rushing to complete the final episodes while Alis was already shooting the first one.

But what, exactly, is "Love for Sale," and what's it about? Well, in addition to being Alis Locanta's most conceptually and stylistically ambitious work for Sexart to date, it's a story about a woman, and the universe, and what is sometimes called "the oldest profession."

Tracy Lindsay plays the lead, and she does an exceptional job. It's safe to assume that this is the most complicated and elaborate role she's ever taken on, and she acquits herself brilliantly. She has quite a lot of dialog to deliver, in English, dealing with sophisticated, challenging, and nuanced subject matter, and she delivers a wonderful performance. She's as naturally beautiful as ever, perhaps even more so. And her sex scenes? Unbelievably hot. The hottest of her career-hot.

I could go on, of course. But a detailed plot synopsis would not enhance your enjoyment of "Love for Sale." It is, as you'll soon see, complex. Please, expect the unexpected. Be prepared to be challenged. But also prepare yourself for a beautiful, powerful, intriguing, surprising, and intensely erotic experience.

"This has easily been my biggest step since I started shooting for Sexart," Alis Locanta explains. "I've been thinking about a project like "Love for Sale" for a long time, but I was waiting for the right chemistry. In the last few months many things have changed: Estelle Adams is 

now my producer, and she has been helping me a lot with shooting better films. And then my collaboration with Adam really helped improve my story structure. I felt the need of a great writer and he did a great job. Last but not least...well...Tracy! I was the first to shoot her for Sexart, in "Valentina," then our paths separated. When we met again — to shoot "Be My Slave 2" — we were both 'upgraded.' We'd both grown and gotten better. I think we were able to use our experience to help each other do our best work. She was perfect for "Love for Sale," she was perfect for my most complex project." 

"Love for Sale." One ambitious project, masterfully realized. Four episodes, each one unique, each one breaking new ground, but all four pieces combining to create a cohesive whole. It was my honor and privilege to be a part of it.


My SexArt Photo of the Month

If a picture paints a thousand words, then the photos we are drawn to must speak volumes about us. What is it about a particular shot that quickens the pulse, demands a second look, and tantalizes the imagination?

Until now, I’ve always been more interested in film than stills photography, but some of the artists I’ve discovered here at SexArt have really inspired and intrigued me. The relationship between the vision of the photographer, the beauty of the model, and their ability to channel that for each other, is quite unique.

With that in mind, I set myself the challenge to pick out my favorite SexArt photo of the month. There was some stiff competition – Amarna Miller blazed brightly, Breann’s blissful smile was irresistible, and I’ve probably already said enough about my love for Michaela Isizzu!

The most controversial and thought-provoking photoset of the month was certainly Catherine’s ‘Shibari’ (Japanese rope bondage) set of Nastya. Some found it artistic and pleasingly kinky; others detested it – though all were agreed that the photography was masterful, and that Nastya looked more gorgeous and self-assured than ever before.

However, after much very enjoyable perusal and deliberation, I’ve selected the shot above, of Milena D, as my pick of October’s photos. I know you’re all very familiar with her; she’s featured in an astonishing 20 photosets since May 2012, a testament to her well-deserved popularity. The Ukrainian sweetheart has an intriguing air of innocence even when she’s being very naughty indeed – for instance, sliding her fingers into her see-through panties, as she does in this photoset by Antares (for whom she seems to be a powerful muse).

Milena’s full lips are just begging to be kissed, and her dark blue eyes have a very direct, confident gaze that belies her youth. Her body is simply delicious – fresh and firm, with those luscious itty bitty titties. And then, of course, there’s that gloriously hairy pussy. While I confess that in my personal life I do prefer to feast on a shaven haven, Milena is fascinating enough to make me reconsider. I like that she is proud of her natural beauty, and I wonder what it would be like to bury my face between her thighs and breathe in her sweet aroma. She makes me believe that it would be a wonderful experience – and that’s why this is my photo of the month.

What’s yours?

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Latest Comments

  • Hayley13 Andrej and Ariel,
    To the comments of others I have very little to add. I do want to say that watching this scene brang a pure sense of joy! Every element here represents so strongly what I love: water, summer, women, happiness, an outdoor location...
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  • Isabelle Ariel Rebel you are absolutely adorable!! Your huge brown eyes, perfect pouty lips and your skin looks dew kissed. I loved your outfit, even the skirt up around your waist wearing your stockings and boots to masturbate.....that made it even hotter...view comment
  • Cougar einfach nur süß... sehr schöne Frauview comment