Pristine might be easy on the eyes, but don’t let her innocent looks fool you – she’s a total femme fatale. When Detective Mike confronts her, Pristine uses her charm to get herself out from behind bars. Her cunning tricks don’t stop there. Pristine uses the power of her perfect pussy to get Mike right where she wants him.
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Add to favoritesYour 70’s swinger mom thinks you are a horny loser and takes you on the ride of your life as she teases, rides and sucks you dry and turns you into her little sex toy.
#Femdom Sex
#Hairy Bush
#Mommy Roleplay
#Single Mom
#Virtual Sex
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1980s, Brother Sister Incest, English, High Definition, Spain
Directed by: Eligio Herrero
Stars: Carole Kirkham, Geir Indvard, José Yepes
Language: English
Country: Spain | Ar: 1.85:1 | Brrip
Also known as: Animales racionales
Description: Two men and one woman (brother and sister) are the last people on Earth. They are reduced to savagery, mate with the woman, and they learn to survive on a deserted island.
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Add to favoritesAn epic journey, deep into the mysterious, sensual orient. A world of sexual secrets and exotic pleasures unknown to western civilization, a world filled with danger, decadence and delicious females whose only desire is the pleasure of men. Enter Marco, who falls head over heels into the waiting arms and legs for Asia’s wildest beauty, Lila (Tabitha Cash) the daughter of the Sultan Ragoon. And so begins an orgy of sexual abandon and exotic pleasures that take Marco to the limits of his legendary endurance.
Epic and legendary movie from the golden age of porn which deserves a better quality! Thanks to the uploader for the DVD-R source :)
Starring:
Tabatha Cash
Rocco Siffredi
Simona Valli
Georgia Anghela
Lydia Chanel
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Add to favoritesAlso Known As (AKA)
(original title) Der må være en sengekant!
Canada (English title) Come to My Bedside
Croatia Zašto Ne Dođeš U Moj Krevet
French Venez dans mon lit petites Danoises
French En amour je n’ai plus dix-sept ans
French En amour je n’ai plus 17 ans
Finland Kaikki yhdessä
Finland Olipa kerran sänky
Finland Parinvaihtoa Kööpenhaminassa
Italy Sexy simphony
Peru Ven a mi cama
Spain Pasión desnuda en el dormitorio
Sweden Full fräs på sängkanten
Turkey (Turkish title) (alternative title) Yatak Başucuma Gel
USA (Poster title) Come to My Bedside
World-wide (English title) (complete title) Without a Stitch Part 3: Come to My Bedside
Børge and Kirsten are newly-weds who encounter some problems when Børge suggests oral sex. Kirsten is shocked (“It’s not natural!”) and calls her mother, who immediately tells her daughter to get a divorce. Børge moves out and rents a room from the stern Mrs Petersen (“No visitors at night!”), who lives alone with her “little boy”. Egon, the “little boy”, turns out to be in his early twenties, and works as a photographer at a micro-chip company.
Børge enjoys his new-found freedom. He picks up Lili and Rita, two liberated girls, at a restaurant and they go back to his place (luckily, Mrs Petersen works nights now and then) for some strip poker and sex. Egon drops by and whispers to Børge that his mother is at work. He also takes some pictures.
Børge, a salesman of sun lamps, also has a sexual adventure with a rich female client in a fancy villa. Her husband catches them in the middle of the act, but sits down and watches (“Please carry on. I’m a little too old for this stuff myself, but I like to watch”).
Egon admires Børge for his easy ways with women. Together they visit a night club, where a stripper sings a song. Børge tries to pick up a girl for Egon (“Hello. It’s my friend’s birthday, and I promised him some pussy. Would you be interested?”). Girl #1 slaps him, girl #2 has a jealous (bodybuilder) boyfriend, but girl #3, Gerda, is game. The three return to Børge’s quarters (Mrs P works the night shift), but Egon falls asleep from too much drink. Børge and Gerda have sex. Egon wakes up a little later, and takes more sexy snaps. The next morning, Gerda says that she’d like to move in with Børge. Børge will have none of it and tells her to leave.
Kirsten has got a job at the same company as Egon. They become friendly. By mistake, Egon has brought some of the sexy snaps to work, and Kirsten recognizes her husband. She gets the address out of Egon, goes to see Børge, but finds Gerda alone in the flat. A cat-fight breaks out, turning into caresses and some lesbian sex. Egon comes back from work and is surprised to find his colleague in bed with Gerda. The three have sex. Kirsten tries oral sex for the first time.
Børge, having had fun with the rich woman all night, returns next morning. He’s more than surprised when he sees his wife in bed with Gerda and Egon. Børge and Kirsten quarrel, but get together again a little later. Egon and Gerda move in together. A mix-up between a picture of micro-chip and a close-up of an open crotch creates a success with a Japanese company, who place an order worth millions.
There’s also a parallel story of Kirsten’s parents and their neighbors, who do a bit of sophisticated wife-swapping (in the dark, so that the wives never find out). The effect of this is, among other things, that Kirsten’s mother experiences the pleasures of oral sex, and fully appreciates it from now on. The last scene has her talking on the phone to her daughter, now back with Børge, who meanwhile pleasures her with his tongue. Kirsten has to put down the phone.
A clever little story, very well made and executed. The sex is sometimes hard core, but in brief, matter-of-fact glimpses (for fifteen minutes in film history it was like that. Then, someone found out that they could show everything all the time). Anne Bie Warburg is incredibly pretty.
mulholand
Starring
Søren Strømberg (Børge)
Vivi Rau (Kirsten)
Paul Hagen (Hagbard)
Annie Birigit Garde (Cæcilie)
Ole Søltoft (Svend)
Lise-Lotte Norup (Inger)
Steen Frøhne (Egon Petersen)
Mette von Kohl (Mrs. Petersen)
Anne Bie Warburg (Gerda)
Vic Salomonsen (Rita)
Henriette Hansen (Lili)
Arthur Jensen (Director)
Kirsten Passer (Interpreter)
Valsø Holm (Personnel Manager)
Mette Jepsen (Rich lady)
Michel Hildesheim (Rich lady’s husband)
Ulla Jessen (Bar guest # 1)
Sonia Reichle (Bar guest # 2)
Hans Jørgen Jacobsen (Bar guest # 3)
Toni Marcell (Strip Dancer)
Scene Breakdowns
Scene 1. Vivi Rau, Soren Stromberg
Scene 2. Lisbeth Olsen, Vic Salomonsen, Soren Stromberg
Scene 3. Anne Bie Warburg, Soren Stromberg
Scene 4. Mette Jepsen, Soren Stromberg
Scene 5. Anne Bie Warburg, Vivi Rau
Scene 6. Mette Jepsen, Soren Stromberg
Scene 7. Anne Bie Warburg, Vivi Rau, Steen Frohne
Scene 8. Vivi Rau, Soren Stromberg
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It’s time to go back…Backside to the future! This erotic classic title is a fun and interesting parody of a very popular 80’s mainstream movie.
Jennifer is aroused only during sex in a car. She and her husband borrow the time traveling car from their friends to have sex and end up in the future, where they hook up with the friends’ kids, and then in the 1960s an orgy.
Scene 1. Kim Alexis, Don Fernando
Scene 2. Samantha Strong, Joey Silvera
Scene 3. Alicia Monet, Buddy Love
Scene 4. Kim Alexis, Buddy Love
Scene 5. Samantha Strong, Don Fernando
Scene 6. Lisa Bright, Eric Estrella
Actual scene breakdowns are a bit more complicated. Editing switches between different scenes in time and space.
Scene 0. Samantha Strong and Buddy Love in a car. Kissing, tit-fondling and long shots where you dont see anything else.
Scene 1. Kim Alexis, Don Fernando. These 2 start making out on the couch, in a living room. Bit of cock-sucking.
Meanwhile, Samantha and Buddy have gone back in time in the Delorean.
Scene 2 and 3 are a foursome paired up as Samantha Strong with Joey Silvera and Alicia Monet with Buddy Love.
Everyone is naked, women are sucking cocks, and then we return back to the present, where Kim and Don have progressed and he does oral on her, then the sex is reverse cowgirl and doggy sex. The action then returns back to the foursome, where the women are receing oral attention, as well as getting fucked standing doggy, missionary and reverse cowgirl. At least one cumshot is on the pussy of Samantha
The Delorean is driven back onto the 60s?
Scene 4 and 5 and 6. Kim Alexis and Buddy Love are back on a couch. Shes sucks his cock. We then shift back to the car, where Samantha Strong is sucking on the dick of Don Fernando. Somewhere else, in a bedroom, we see a thrid couple, Lisa Bright and Eric Estrella on a bed; again cocks being sucked. The action then switches between these 3 couples, and sex acts including missionary are viewed.
All 6 meet up in the lounge where Kim and Buddy are, and an orgy ensues. Fellatio, cunnilingus, missionary, cowgirl, a standing 69, and doggy sex before Samanth completes the scene with a facial.
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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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At first look you have a random classic porn. But it’s very well made. You have some good cheating porn, then brother/sister incest, and orgy with mother/son incest. Great classic porn video.
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Add to favoritesUnia Films
Director: Pierre Unia as Reine Pirau
Also Known As (AKA):
(original title) Les Voyeuses
France (reissue title) Belles et bien éduquées mais le feu au cul
France (alternative title) Belles à confesse
Italy Incesto sacrale
Turkey (Turkish title) (alternative title) Kutsal Ensest
World-wide (English title) (alternative title) Sacred Incest
Jacky Arnal Jacky Arnal … Jacques (as Jacky Saint-Denis)
Cathy Ménard Cathy Ménard … Hélène / priest’s sister
Élisabeth Buré Élisabeth Buré … Olga / la nonne-nun-leave non-nun
André Kay André Kay … André
Ghislain Garet Ghislain Garet … Le prêtre / The priest
Kitty Hilaire Kitty Hilaire … Ginette / black maid
Christine Borgomano Christine Borgomano … Marie-Jo
Hélène, the chemist of the village, and the priest’s sister. Olga, a nun who lives with the priest. The priest is a funny fellow who seems to enjoy talking about sin and about wine being Christ’s blood. At the hotel, the wine merchant gets acquainted with Ginette, a black maid, and asks her about the nice lady he’s met. His description fitting the maid perfectly, she offers her slender body for his wristwatch. It’s a deal. André’s wife, who is a friend of hers, invites Ginette to her place and in the meantime, takes care of herself.
Sex acts include: blowjobs, pussy licking, lesbian sex, strapon fucking, double penetration, threesomes, female masturbation, vaginal and anal sex in various positions (doggystyle, cowgirl, reverse cowgirl, missionary and sideways).
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