A scorned woman plots revenge for her husband’s suicide by integrating herself as a housekeeper for a dysfunctional Beverly Hills family to first alienate, and then emotionally and physically destroy them.
The darkly insidious story of the Garrett household and their descent into a hellish world of sexual malice and physical terror! Seeking revenge for her husband’s death, Ann ingratiates herself with the Garretts under the guise of a caring housekeeper. Once she gains their trust, Ann begins to wreak havoc upon them. Seduction and malice are her weapons as she attempts to eliminate everyone she believes is responsible.
At the beginning of the film, the wife (Kari Wuhrer) fucks her husband’s old client so that he will sign the contract for a business deal. Her husband, who goes into the other room, hears her moans as she fucks his client. We only see the silhouette of the intertwined bodies of the wife and the client as they fuck behind a translucent door.
In an act of betrayal, the husband gets fired from his job, which leads him to commit suicide. The wife gets revenge by killing his boss and then integrating herself as a housekeeper into the family of the woman who replaced her husband, where she will execute her revenge step by step. She fucks the woman’s husband (58:30) as well as her son (1:03:48), with the latter being her hottest sex scene in the movie.
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Add to favoritesAna(Emma Suarez) goes to Andaluzia in order to meet her beloved brother Juan(Antonio Banderas). In spite of trying so hard to avoid Ana, They retake the old paxion. Of course this relation won’t last forever. Good example of Spanish movie. Strong performance of Emma Suarez. The film is full of psycholgical details, that only Freud could explain.
Juan flees Madrid and an incestuous relationship with his sister, Ana, working at a mine on the Andalucian coast. When his friendship with Rosario, a local shop girl, becomes romance, Ana shows up wanting to rekindle their affair. He resists at first, but she stays, asserting that Juan is the only man she can ever love. Juan distances himself from Rosario. The mine has problems: high cancer rates in the area caused by poorly stored radioactive waste. A foreign safety engineer, Petersen, tries to connect with Ana, is rebuffed, but lets her stay in his sea-front bungalow. Juan seeks her out to demand she leave, only to argue with Petersen. Death, desire, and longing play out.
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Contra el viento (1990) HD.srt
Add to favoritesYou will see Sarah louise Young performing various sexual acts like missionary, doggy style, cowgirl, reverse cowgirl, titfuck and receiving cumshots all over her body. She is mostly getting fucked on beds, couch and desk.
This megapack covers her entire Boy/Girl career from 1988 to 1997. Some material was released later after that but she stopped filming when the industry moved from films to cheaper videos. She got her famous fake tits and nose job in 1992 so the scenes before that are her natural tits. The filename where it says 2000+ are the release dates.
I was able to get almost all of her stuff on DVD (mostly goddess of love, private fantasies and hamlet/decameron/castle of lucretia) Unfortunately I was unable to get the DVDs of sexy killer nikita and some others so I’ve used HQ source material instead.
There is one very early scene from her career with Fiona Cooper that is of very bad quality and there is also a softcore scene from the movie Members Only 6. I’ve kept both just because.
Also as a bonus I’ve included about 4500 high quality picture sets from her.
Sarah Louise Young Screens.rar
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Genre: Classic, Vintage, Mature, Feature, Erotic, Comedy, Italian
Duration: 01.31.39
Cast: Marina Hedman, Antonella Antinori, Pietro Aiello, Alex Partexano, Gino Pagnani, Mauro Vestri , Elio Stefanizzi, Catherine Zago, Lina Tabacchino, Vanessa Vitale, Salvatore Puntillo
The rich Gloria, resident for years in the United States, returns to live in her native country in Sicily, where she is welcomed by her sister-in-law, widow Antonia and her son Saro. The beautiful Gloria does not fail to arouse particular interest in the inhabitants of the place, especially in a building speculator, the engineer De Vita, who intends at all costs to get hold Gloria’s land. She will be able to seduce the man, and then allow herself to the sister-in-law and the nephew before leaving for the USA
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Add to favoritesRoberta Gemma, Anina Silk, Vickie Brown
FACCETTA NERA – 2019 – Faccetta Nera is the title of a song written by Renato Micheli and composed by Mario Ruccione in April 1935. This song was certainly inspired by the fascist propaganda that prepared the Italians to face the Ethiopian war. The movie has no political label or orientation and uses the title of the song only to highlight the historical period in which the story unfolds. The story takes place in Naples in 1935 and tells of the generational contrast between a powerful gerarca (Massimiliano Storace) and a young militant of the fascist party (Josc Admiral) who live in the same building. Taking advantage of the departure of the gerarca for Abyssinia, the young fascist tries in every way to attract the attentions of his wife (Roberta Gemma) unknowingly involving also the elderly mother-in-law. When everything seems over, a twist will reverse the events of the story.
The Historical Context:
It’s September 11, 1935, we are less than a month from the start of the Ethiopian campaign. In the intentions of the fascist regime, this colonial expedition must be the maximum expression of the strength and efficiency of the Kingdom of Italy. Failure is not contemplated, far from it: this war will have to mark the definitive consecration of the regime in the much sought after ‘place in the sun’ on the international scene, strengthening its image and prestige through a military campaign conducted with enormous deployment of means for a inexorable victory.
In this context, the propaganda system also assumes fundamental importance, through a series of measures aimed at enhancing the imminent expedition, or, to put it better, at the need for a salvific Italian intervention towards the Abyssinian population, oppressed by a state of slavery. . Here then is the flourishing of various ‘canzonette’ in which the graceful and catchy melody is combined with programmatic texts of strong impact: we remember in particular a 78 rpm which includes the two ‘preparatory hymns’ for the war of Ethiopia, or ‘Faccetta nera’ and ‘I salute you, I am going to Abyssinia’. As mentioned, these are “choral” songs in which the candidates for the expedition declare their virile enthusiasm in front of a real “call of destiny”.
According to the propaganda plan of the Italian Army, in 1935 alarming news spread about the slavery conditions with which the Empire of Ethiopia kept the Abyssinian population subject. A firm, decisive and definitive intervention by the Italian forces is urgently needed to put an end to this slavery, so as to celebrate the colonialist vocation of an Italy ready to expand the borders of its Kingdom significantly. These are the ‘historical’ premises that saw the birth of a song like ‘Faccetta nera’, in which the Roman poet Renato Micheli addressed his words directly to a hypothetical young slave (the ‘beautiful Abyssinian’, in fact) urging her to wait for the triumphant coming and civilizer of the ‘black shirts’.
This is the historical context in which Mario Salieri sets the story of his new film. We have a powerful and affirmed hierarch (Massimiliano Storace) who is preparing for the Abyssinian expedition: we see him haughty, motivated and dismissive of the danger as a regime wants, to face the legitimate insecurities and fears of his beautiful wife (Roberta Gemma), worried about the mission to which her husband is called.
But you know, in fascist families there is no time for tears: during the absence of her husband, the role of the woman will be the eminently domestic role of ‘angel of the hearth’. Roberta will have to look after the elderly mother of the man, who is bedridden and in need of care.
As per script in the Salierian stories, the disturbing element manifests itself in the landing of the house, and has the features of a young fascist militant (Josc Admiral), handsome and domineering, who lacks respect for the hierarch with his daring behavior. The boy is punctually ‘cazziato’ for not having greeted the superior ‘Roman’, however thanks to his comment in voice over we learn that he does not care about the violent reproach: yes, because as soon as the hierarch leaves for Ethiopia he will take care of the wife of this domineering ‘big shot’, trying to earn her sexual favors.
As the young man in the black shirt explains, it has been some time since he has set his eyes on the woman, provoking her also through the ‘attentions’ directed in plain sight to the aunt of one of his comrades (Vickie Brown). In short, it is a matter of time, and the beautiful Roberta will give up. Will it really go like this? To find out, just enjoy the film,
This new Salieri is added, as we have seen, to the historical setting works so dear to the director, a story re-enacted with the scruple of the enthusiast attentive to the ‘customary’ aspects of the eras from time to time treated. Music, for example: it had been like this in the ‘Neapolitan carousel’, here we are once again catapulted in the middle of the twenty years thanks to the recovery of the song that gives the title to the film and the revival of the popular success ‘Ma le gamba’, dated 1938 and used by Mario as a sound commentary to the moments of… ‘solitary intimacy’ of the young fascist when he consults some audacious period magazines.
These important details help the spectator to enter the context of an event that also foresees the celebration of the Juno Roberta Gemma, as always unmissable in the hard scene dedicated to her. In the writer’s opinion, Roberta is the perfect embodiment of the ‘mogliamante’, to bother the title of a film with Laura Antonelli: a prosperous woman whose physicality, properly exhibited and enhanced by Mario’s filming, embodies a generous and homemade sexuality ‘without losing a sex appeal always and in any case highly sensual. Looking at Roberta Gemma in all her production with Salieri, the words Marcello Mastroianni addressed to ‘Anitona’ Ekberg in Fellini’s’ Dolce Vita ‘come to mind:’ You are the first woman on the first day of Creation. You are the mother, the sister, the lover, the friend, the angel, the devil, the earth, the house … Ah, that’s what you are: the house! ‘
This means that the roles created by the Neapolitan director for Roberta give her an ‘all-knowing’ femininity, both in the part played and in the more specifically sexual part.
In historical films, Mario’s shooting style for hard scenes tends to enrich the frame with furnishing details that make the surrounding environment ‘live’: to frame the sexual performance we have for example the lingering the eye of the director on old bedside tables, chairs or paintings, which, while remaining ‘at the edges’ of the screen, act as ‘subliminal’ elements that need only be absent-minded to receive that additional temporal information.
Having said that, remember that Salieri has always accustomed his audience to a multiple reading of his films, and ‘Faccetta nera’ is no exception: the title is a propaganda hymn that introduces us to the ‘historical plot’ of the story, but with the progress of the events is clear that the motif is also a mockery tool of the young fascist towards the hierarch: as soon as the latter leaves singing to conquer Abyssinia, the boy will proceed to conquer his wife … all thanks to the same song, which sends one to war, the other to have sex. Magic of Maestro Salieri. As always.
Remember that the film has no political label or orientation and uses the title of the song only to highlight the historical period in which the story unfolds.
Sex acts & positions: kissing, handjob, blowjob, kneeling doggy, cowgirl, reverse cowgirl, standing doggy, spoon, cum on ass, cum on legs, pussy fingering, 69, handjob to completion, cum on tits, missionary
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Add to favoritesDirected by: Arturo Ripstein
Stars: Claudio Brook, Rita Macedo, Arturo Beristáin
Language: Spanish | Subtitles: English, Spanish, Italian, Serbian, Turkish (embed)
Country: Mexico | Ar: 4:3 | Webrip
Also known as: El castillo de la pureza
Description: The story of a disciplined and sexually driven man who keeps his family isolated in his home for years to protect them from the “evil nature” of human beings while inventing (with his wife) rat poison
1970s, Based On True Story, Brother Sister Incest, Mexico, Spanish.
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Add to favoritesSpanish erotic movie with Victoria Abril as the daughter/niece (read below).
Description: Spanish fascinating 70’s period. In a typical Spanish house an old writer and his young nephew live. The days slowly pass, between morbid and equivocal situations, looking for private and erotic life of themselves.
The niece begins a seduction process that ends up to conquer the old writer’s resistance, who finished discovering that the provocative and delightful girl is not his niece but her daughter.
Rarest Spanish erotic movie from the period of ‘transicion’ in the 70’s, when directors like J.Franco, V.Aranda, J.Grau, J.Bosch, E.de la Iglesia, P. Lazaga, J.Ramon Larraz…etc. wrote the best page of the Spanish Cult Cinema.
La muchacha de las bragas de oro is a very rare film to find these days and a great collector for Euro Sexy Cinema fans. The atmosphere is quite nice but a little more decadence await during the whole movie. That is not what I called Erotic movies but nice sexy movie Spanish style. Still the “already” great Victoria Abril and very nice looking girls touching herself through the movie. I kinda like that! The soundtrack is also a great one!
Detailed Plot Summary: Luis Forest, an aging Falangist writer, has retired to Sitges to devote himself to review his past, write his memoirs and ruminate over his failed marriage. He feels guilty because of his political past and lives in virtual isolation in his large house accompanied only by his dog, and Tesla, the housekeeper.
His isolation is suddenly interrupted by the unexpected visit of his niece, Mariana. Young and wildly carefree, Mariana has arrived with the excuse to make an interview to his uncle about the biographical book his writing. The reportage would appear in the magazine where she works with her aunt, Sole, Luis’ estranged wife. Mariana has not seen her uncle in many years and is happy in his company. She has arrived with a mysterious silent photographer, a male friend of foreign origin by the name of Elmyr. They shake up Luis’ staid world. Mariana and Elmyr have a close relationship; they argue frequently, smoke some drugs together and it is evident that they are also lovers. Elmyr, makes golden panties on Mariana’s body with paint.
Mariana’s mother calls Luis, to prevent him in case her daughter is in the company of Elmyr, who she describes as an in balance, drug addict of suicidal tendencies. She also tells Luis that her sister, Sole, Luis’ wife, has died unexpectedly. There is not need for him to worry about funeral arrangement since Sole has already been buried and their four children do not want to see him.
Flashbacks, tell the story of Luis Forest when he was young. He was smitten with Mari, Mariana’s mother, and her sister, Sole. He was first courting Mari, but one dark night by the piano, he made love to Sole thinking that it was her sister. That fact eventually led him to marry Sole. Their marriage was not happy, in spite of Sole’s efforts, and she ended up leaving her husband years ago. The other sister, Mariana’s mother, in a time in which she was drinking a lot, had a one night stand with Luis, her brother in law. However, shortly after, she married, Jose Maria Tey, Luis’ close friend.
The past that Luis is preserving in his memoirs is more fiction than true. He is rewriting the facts, inventing many and softening many more. His book of memoir is full of lies, that his niece soon discovers when she offers him to type the manuscript. Slowly, Mariana’s taunting and teasing breaks down Luis’ intellectual barriers and as that happens, she becomes more interested in him.
Elmyr is not really a man, but, a female friend of fragile psychology and suicidal tendencies. Both, Mariana and Elmyr, have also male lovers that they bring to the house. One night, while Mariana is out in the town, Luis expels Elmyr from the house. Mariana is initially very upset but she calms down kowing that Elmyr is safe in Ibiza.
Alone with her uncle, Mariana begins a game of seduction, until Luis succumbs. When Mariana’s mother (the writer’s sister in law) comes to visit, worried about what he can say about her in his memoirs, it is revealed that Mariana is in fact his daughter. Luis feels guilty of the incestuous relationship they have had and tries to commit suicide.
The sun shines out of her ass…
The old-timer feeling young tits…
Cute Victoria Abril before giving head…
Lucky guy…
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Add to favoritesYear: 1981
Duration: 01:46:16
Directed by: David Cardoso, John Doo
Actors: Zaira Bueno, Luiz Castellini, John Doo, Jair Garcia Duarte
Language: Portuguese
Country: Brazil
Also known as:
Description: This brazilian Boca do Lixo anthology produced by David Cardoso containing 3 fantastic shorts, in special the last one, O Pasteleiro.
Aqui, tarado! means something like “Here, pervs!”
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