Bondage Lesbian: chantasbitches.com (123 сообщения)

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Nika Noire, Dia Zerva

Dia Zerva is tied up and left in the hot sun, the sweat drips off her body and the glaring sun blinds her nordic eyes. Nika Noire comes back to play with her bitch and torments her with electro-shocks and flogging. She orders Dia to lick her ass, then she ties her in a strapado and forces a large glass butt plug into her ass. She slaps her bitch before leading her into a dirty shed where she takes all her bitch's holes with her large strapon cock.

KNOWLEDGE IS KNOWLEDGE FROM THE CAUSES. It's a great thing that the first update shoot of Twisted Factory in the new format dimension is this outdoor scene on the roofs of the Factory, as if the hills had eyes, with real light of the sun, this crude relief of things shaped against the blue with this very thin atmosphere of sweat, the "light in August" (William Faulkner) of human passions. This shoot has only one to its level in the history of Twisted Factory : the savage scene between Sandra Romain and Ava Devine, the route towards the heart of darkness. But it is here as if we were passed from theatrical dimension to cinema dimension. Is it the outdoor factor? Is it the rectangular new format? For me, these factors are mere concomitants of an emergence : the emergence of a great domme, heroic and brutal, for if knowledge is knowledge by the causes, SHE is the cause of this great shoot. The sub is admirable, and she loves it ; and the domme is the true Cossack of the Russian plains, the violator of girls liking to flog with the knout. In this scene where we pass from theater to raw cinema, we loose what we win and we win what we loose. We loose the "demonstrative" effect, as if every time there had been an invisible gap into the picture between the intention and the action, very like in mute cinema the over demonstrative shows of actors because you couldn't hear their voices : the impression of empathy as a slowing up of the sequence, as if love was slowness aiming at stillness. We win the "performance" effect of action as seen in cinema, something which has a strong effect of reality, but without slowness into the picture, so that you have by yourself to construct the meaning of the move in your mind. I am far too intellectual here in this comment "about mere naked girls", as a guy was too kind to remember me into an answer in recent past. Through this word mess, I wanted to say Nika Noire exists in the age of cinema motion, with the cruelty of Asian / Slav minds and manners, her youngness, and above all her inner speed, which is something admirable. She is so fast into motion, that the subs, if able to be at the level, are cast into the motion. It is absolutely a new dimension of doming - for it is a dimension of doming. And she believes that the link of the pain being more intimate than the link of pleasure (as an European lover of the Russian girls, I subscribe = sub-scribe), through what seems raw brutality in the motion at thin-layer view, she will reach the BDSM fusion with the partner. And that works in this great scene, the greatest shoot of Nika Noire and probably the crudest of Twisted Factory, for not a single tear leaves the corner of an eye of the sweating Dia Zerva. For, that's clear, she COMES along the scene, and before orgasm acme clearly. ABOVE THE SCENE.

-- regisjean

Monday, October 6, 2008

chantasbitches.com (123 сообщения)

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