Original Post By Ariel Piper Fawn
Original Post By Ariel Piper Fawn
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.