1 review
Adding Kay Brandt to his group of filmmakers was a wise move by Marc Dorcel, with the French magnate receiving a well-crafted and performed romantic feature.
There's no Euro content this time, as the all-Chatsworth cast led by Emma Hix and Whitney Wright give a different look to the show (though sexy lingerie is featured, de rigeur).
It's about open relationships and a hedonistic life style, as Whitney Wright is hired as a live-in personal chef by the freewheeling couple Emma Hix and Jay Smooth. Emma's best friend Paige Owens is really part of the family, having sex with both Emma and Jay, and Whitney soon becomes accustomed to this free-love approach.
She tells Emma and Paige about her previous employers Emily Willis and Robby Echo, who we see in an erotic fantasy of Whitney's (which may have really happened) for threesome sex. Movie culminates in an orgy with studs Ramon Nomar and Stirling Cooper added to the menage.
Feature conforms to Dorcel's safe sex mandate with condoms used, an anachronism these days but fitting the retro storytelling approach that femme directors like Brandt, Vespoli, Noelle and St. James (plus Kross to a lesser extent) keep alive in a world of gonzo.
There's no Euro content this time, as the all-Chatsworth cast led by Emma Hix and Whitney Wright give a different look to the show (though sexy lingerie is featured, de rigeur).
It's about open relationships and a hedonistic life style, as Whitney Wright is hired as a live-in personal chef by the freewheeling couple Emma Hix and Jay Smooth. Emma's best friend Paige Owens is really part of the family, having sex with both Emma and Jay, and Whitney soon becomes accustomed to this free-love approach.
She tells Emma and Paige about her previous employers Emily Willis and Robby Echo, who we see in an erotic fantasy of Whitney's (which may have really happened) for threesome sex. Movie culminates in an orgy with studs Ramon Nomar and Stirling Cooper added to the menage.
Feature conforms to Dorcel's safe sex mandate with condoms used, an anachronism these days but fitting the retro storytelling approach that femme directors like Brandt, Vespoli, Noelle and St. James (plus Kross to a lesser extent) keep alive in a world of gonzo.