In addition to blogging — both here and at MetArt — I'm often asked to write synopses of various SexArt movies. As it happens, I wrote all the synopses for the entire "Snow Fun" series — eleven episodes, count 'em! — so I consider myself well acquainted with the work of director Andrej Lupin. I thoroughly enjoyed "Snow Fun," and when I sat down to watch Lupin's latest effort, "Emotion," I anticipated a similarly enjoyable viewing experience. But nothing I knew of the director's previous work could possibly have prepared me for this. "Emotion" took me by surprise. And what a pleasant surprise it was!

Waves break slowly against rocks under the MetArt Films logo before fading to black. In hindsight, I consider this beautiful image something of a mental reset. Forget what you think you know. Discard your expectations. Experience "Emotion" with fresh eyes. And then it begins.

The first image, of Whitney Conroy, is warm, bathed with diffused light, and has a painterly quality that flatters her considerable beauty. As the credits roll Conroy spins, her hair swinging in slow motion through space. Before thirty seconds have elapsed she is locked in a passionate embrace with Matt Ice. Even in these first moments the mood, the actor's presence, is entirely different. Gone is the cheerful ski bum of "Snow Fun." As the strings of the soundtrack swell, and tympanis thunder, we enter entirely different stylistic territory.

Cinematography, direction, and editing work seamlessly to underscore the title and the theme. Watching Whitney Conroy fall, gracefully, slowly, backwards onto the bed is worth repeated viewings in and of itself — a striking and evocative effect. The performers approach perfection, and by that I mean that at no time do I sense that they are performing. These two have a connection and every move of the camera, every edit, every change of position, looks and feels entirely genuine and natural. When the shot is framed from outside a doorway it adds a hint of voyeurism — and we are voyeurs looking in on these two. When the camera moves in close to capture a facial expression or Ice's point of view, it adds to the feeling of intimacy without drawing attention to the technique.

The sex? Particularly hot, and exceptionally passionate. But it's of a piece, so to say — the love making we witness in "Emotion" is a physical expression of deep, powerful emotions and that's what makes it so compelling. Wonderful performances by skilled performers. Stunning visual and technical style. An impressive piece of erotic artistry from two gifted actors and one talented — and versatile — director.

It's been a while since I've had the pleasure of viewing a film directed by Bo Llanberris. And I haven't seen any of the previous episodes of his "Upper West Side" series, so I have no choice but to experience and judge episode IV, "Last Call," on its own merits. As fortune would have it, those merits are obvious and plentiful.

Chloe Foster, making her SexArt debut here, is a fine addition to the talent pool, that's immediately clear. In his notes about the film Llanberris writes: "I took my time with her and let my cameras collect her lovely body." And that fact is clearly demonstrated as the film begins — the first five or so minutes proceed at a languid pace and we have ample time to acquaint ourselves with the beautiful blonde newcomer as she lounges on a bed and slowly — very slowly — removes her blouse and panties.

After that slow introductory tease "Last Call" abruptly shifts gears as Chloe begins playing with her pretty pink pussy at a frenzied pace. I don't know if this performer has previous on-camera experience, but her lack of inhibition and natural intensity is really something to see. It's also something to hear, and her moans of delight have the unmistakable sound of spontaneity and total sincerity. Another sonic bonus? The sounds of Chloe's fingers furiously working her wet pussy are clearly audible on the soundtrack. Sounds good to me!

After Chloe has treated herself to a handful of orgasms (pun intended), "Last Call" shifts gears once more. Without explanation or introduction, right around the halfway point, we find Chloe astride Chad White. After a bit of kissing and tongue-play she peels off his pants and sucks the first thing that pops up. That brief session of oral is a prelude to an extended session of fucking, mainly with Chloe on top and setting the pace. Although Chad is obviously enjoying himself — who wouldn't?! — Chloe is in control here and watching her greedily wring every bit of pleasure out of her partner is a torrid treat. And when she finally pleads, "Come on me, please!" Chad is only too happy to oblige, ending "Last Call" with both a bang and a blast.

Although it is technically a "short" film "Last Call" is actually a double-feature. Chloe Foster's solo masturbation scene is hot and satisfying enough to stand alone, as is the full-throttle duet she delivers when partnered with Chad White. It's two, two, two films in one! But be careful — this double is particularly intoxicating.

A time-lapse shot of fog shrouded mountains sets the tone and serves as something of a palate cleanser as "Ivory" opens. Once the serene mood is established we move indoors — into a spacious shower lined with eye-pleasing sea foam green tiles. Hiro's camera mimics the flowing, falling water and we take a leisurely trip down an undeniably beautiful body.

The first few minutes of this Bo Llanberris production provide an exceptionally enjoyable introduction to Charlotte Stokely. The fluid camerawork, the languid flow of the edits and dissolves, and Charlotte's obvious and unforced enjoyment of the experience create moments that look as good as they must feel. A subtle undercurrent of voyeurism — Charlotte doesn't acknowledge or play to the camera here — adds the spark of anticipation to this sequence that is rewarded when the nubile starlet reaches down and begins pleasuring herself with her fingers.

When, at the 3:00 mark, the scene transitions to a low, wide, circular bathtub, the mood is somewhat lighter, a bit more playful, but no less enjoyable. Here Charlotte seems the slightest bit more aware of the camera, but this is still very much a private interlude. The addition of live sound at around the 6:00 mark not only brings the sounds of dripping, splashing water, but Charlotte's own natural and entirely genuine sounds of sexual delight.

Our voyeuristic enjoyment of Charlotte's bathtub interlude receives and unexpected but most welcome jolt when she slides down into the water after vigorously masturbating and looks directly into the lens — it's a beautiful and involving moment. Beyond Charlotte's physical beauty, the fluid pacing of the film and the ebb and flow of autoerotic intensity makes "Ivory" effortlessly enjoyable.

IVORY in theaters on Monday, June 4th, 2012 - come check it out!

As some readers may be aware, I do a bit of blogging over at MetArt. The photo galleries and HD erotic movies I critique there have already been added to the site at the time of review. Here at SexArt the situation is different. So far I've been assigned sets that are so new they haven't been titled, they're not yet on the schedule, and they haven't been completely edited. This creates a couple of challenges for me: I can't refer to the set by name, and I can't call out specific images by number. Of course, I do get to view the material before the membership does, so I can't complain!

As the set opens Miela A is lounging on a white upholstered cushion in a brightly lit sunroom wearing a figure-hugging blue bustier and matching panties. The abundant sunlight and model's relaxed demeanor create a real sense of place — it's easy to imagine the warmth and quiet of that room on that afternoon. Fortunately, we don't have to imagine how Miela would occupy herself during these private moments, we get to watch.

It does take a while for Miela to work her way out of her clothes, but the leisurely pace only heightens the anticipation. And when her top comes off, and then her panties, the body she reveals is ripe, shapely, and incredibly inviting. The lighting really brings out the soft warm glow of Miela's skin, and photographer Koenart takes care to include a variety of close-ups that reveal every delectable detail — whether it's a hand cupping a full breast while fingers tease an erect nipple, or the moist, delicate delights between the model's wide-spread thighs.

Miela A obviously enjoys pleasuring herself using only her hands and fingers, but she also puts a translucent blue probe to excellent use. While there is more than enough explicit imagery here to satisfy the voyeuristic appetite, the true erotic power of this series is the sense that we're watching a naturally beautiful girl enjoying herself, by herself, for herself.

For my second contribution to the SexArt blog I've been given a unique opportunity: I get to evaluate an explicit photo gallery before it has been added to the site. In fact, it is so new that it hasn't even received a title yet. Additionally, as far as I know, it doesn't have a scheduled release date, either.

SexArt contributing photographer Antares has chosen a particularly interesting and evocative location for this erotic pictorial. It's actually a cave, located high on a bluff overlooking a scenic stretch of coastline and the deep, blue sea. While Antares certainly knows a worthy location when he sees one, he also has an expert eye for modeling talent.

His subject here, Milena D, is a model I've had some experience with - I've critiqued no fewer than three of her MetArt erotic galleries over at the MetArt blog. While every set I've seen has been different in one way or another, her nubile body and blue-eyed beauty is irresistible no matter what the setting.

Milena's costume - fringed leather wristlets and a leather apron (sort of the front third of a Breechcloth) - fits perfectly with the primitive location. And it does a very bad job of covering or concealing that scrumptious body, which is a very good thing.

As an admitted admirer of Milena D's work at MetArt, it's a singular pleasure to view her in a SexArt gallery. I've always hungered to see a bit more of what Milena has to offer, and I'm pleased to say she offers up lots of luscious goodness in the plentiful assortment of explicit images in the collection.

#092 is a particular favorite. With two fingers of her right hand inserted to the second knuckle, and with a stiff nipple captured between two fingers of her left, Milena looks directly at the camera. Those plump, barely parted lips, and those bedroom eyes project a profound and powerful sensuality. The heavy-lidded eyes in #051 (pictured here) deliver another steamy message. And the parted lips and open mouth in #042 offer an enticing invitation.

Among the less explicit (but no less erotic) shots I like #006 (for the way it captures Milena's body from head to toe while also revealing the exotic locale); #016 and #018 (love that ass-length hair); and #013, a beautifully posed and composed headshot.

Although I haven't been told when, exactly, this series will be added to SexArt, I can surmise that it will be soon. And, based on my impressions, it will be worth the wait.  I'm sneaking a few more images for our Members and releasing them on the Members home page inside. So, if you're not a Member, now is a good time to join >>.