paula a and emily j in “whore - lazy room”
scene title: whore - lazy room
performers: paula a, emily j
site: sexart (metart)
production credits: paul black (dir.)
trailer
once more, we're pushing against the limits of what can reasonably be called a girl/girl scene. the two performers who appear in this never share the screen and have quite possibly never met. both of them are from latvia, although paula (who is filmed directly) has only been doing erotic modeling since 2016; emily (who only appears on phone and laptop screens putting on a sex show for paula; her whole face is never shown here) has been doing erotic modeling and very occasionally pornography since 2012. this is a sequel of sorts to a black-and-white 2017 sexart film called "whore - the day after" featuring emily and an anonymous male performer, also by director paul black and producer ilona black. emily's name is only given as "whore" in paula's messages with her, apparently as a nod.
is it a girl/girl scene if the girls never touch? is sexting sex? i don't intend to answer either question. i downloaded this because two women and no men were listed as performing in it, and that was the basic criteria i was using; and on watching it, it's a nice change of pace. without a word spoken but several typed out on screens, their connection was as plausible as any such cybermediated one could be; and their performance of sexual gratification for and due to each other was enjoyable, if very stylized.
but it was really the blacks' filmmaking, in a more all-encompassing sense than porn usually allows for, that sold both the slender narrative and the sexual performances. the sound design here was more enveloping than any i've heard all month, due to the inclusion of a cassette tape that paula is supposedly listening to on headphones while masturbating: the faint sound of an ancient jazz-band blues recording, the electronic notifications pinging, the hum of the vibrator, the harsh noise of emily's shower masturbation through laptop speakers, and as the climaxes approach the interwoven sounds of classical music and some library indie-pop as the editing makes rapidfire cuts, building up the cinematic tension in sync with the sexual tension on display, were hugely impressive and totally immersive.
as a cinematic experiment, it was wonderful; as an instance of pornography it was only okay, suffering from the usual personality-free anonymity of stylish european art-porn. at only twelve minutes long, it packed so much into its running time that i was never bored, as i nearly always end up being eventually with these scenes. (i might have a touch of adhd.) technically it might be considered a solo scene by self-appointed porn authorities, but i don't care: online connections are as real in 2019 as any other.
performances: 19
cinematography: 25
editing: 20
script: 4
sjw points: 0
total score:
performers: paula a, emily j
site: sexart (metart)
production credits: paul black (dir.)
trailer
 |
| paula a |
once more, we're pushing against the limits of what can reasonably be called a girl/girl scene. the two performers who appear in this never share the screen and have quite possibly never met. both of them are from latvia, although paula (who is filmed directly) has only been doing erotic modeling since 2016; emily (who only appears on phone and laptop screens putting on a sex show for paula; her whole face is never shown here) has been doing erotic modeling and very occasionally pornography since 2012. this is a sequel of sorts to a black-and-white 2017 sexart film called "whore - the day after" featuring emily and an anonymous male performer, also by director paul black and producer ilona black. emily's name is only given as "whore" in paula's messages with her, apparently as a nod.
is it a girl/girl scene if the girls never touch? is sexting sex? i don't intend to answer either question. i downloaded this because two women and no men were listed as performing in it, and that was the basic criteria i was using; and on watching it, it's a nice change of pace. without a word spoken but several typed out on screens, their connection was as plausible as any such cybermediated one could be; and their performance of sexual gratification for and due to each other was enjoyable, if very stylized.
but it was really the blacks' filmmaking, in a more all-encompassing sense than porn usually allows for, that sold both the slender narrative and the sexual performances. the sound design here was more enveloping than any i've heard all month, due to the inclusion of a cassette tape that paula is supposedly listening to on headphones while masturbating: the faint sound of an ancient jazz-band blues recording, the electronic notifications pinging, the hum of the vibrator, the harsh noise of emily's shower masturbation through laptop speakers, and as the climaxes approach the interwoven sounds of classical music and some library indie-pop as the editing makes rapidfire cuts, building up the cinematic tension in sync with the sexual tension on display, were hugely impressive and totally immersive.
as a cinematic experiment, it was wonderful; as an instance of pornography it was only okay, suffering from the usual personality-free anonymity of stylish european art-porn. at only twelve minutes long, it packed so much into its running time that i was never bored, as i nearly always end up being eventually with these scenes. (i might have a touch of adhd.) technically it might be considered a solo scene by self-appointed porn authorities, but i don't care: online connections are as real in 2019 as any other.
performances: 19
cinematography: 25
editing: 20
script: 4
sjw points: 0
total score:
Comments
Post a Comment