One Night Stand (Pour Une Nuit) DVD
This movie is incredibly hot! Everything in it contributes to its raw, edgy eroticism: the music, the lighting and camera work, the chemistry between the actors, and the activities they engage in. The eroticism begins immediately, yet builds in intensity slowly, creating a mood and seducing the viewer. There are five separate scenes of women having passionate, raw, and very, very aroused sex.
Each scene is an incredibly hot one-night-stand--few words are spoken, no names are exchanged; the eroticism is intense and spontaneous. The actors make putting on gloves and lubing up look like the hottest foreplay around. The actors act like the camera is not even there. They make what they’re doing look really good for the viewers, all the while remaining completely unselfconscious, completely wrapped up in their arousal and their partner’s body.
The actors are very hip-looking, and many sport tattoos and body piercings. They cover a broad swath of gender presentations: butch, femme, androgynous...and there’s even an adorable trans-guy. They wear a variety of clothing from baggy jeans, button-up shirts and tie, chest harnesses, skirts and garter belts, and they take some of it off while leaving other bits on (or just taking it off little by little, as needed). This contributes to the rushed, so-hot-for-you-I-can’t-even-bother-getting-totally-undressed feel of each scene.
Expect to see everything from heavy petting, breast play, and oral sex to strap-on sex, spanking, and toy play. One scene includes anal penetration of a woman wearing a tampon. The presence of a tampon string may distract some, or turn off others, but it does contribute to the movie’s ”real” feel: these are the ways these women want to have sex, and this is what their bodies are like, no apologies.
Visually, it’s gritty and raw. The camera creates an atmospheric quality by shifting in and out of focus, moving around, sometimes smoothly, sometimes a bit jagged, to different body parts, shifting between full-body shots, genital shots, and shots of different body parts. Each scene features a different song, most of which you could expect to hear in a club. It’s not background music: it’s loud and sets the mood for each scene. This may be distracting to some viewers, especially those who don’t like the music. But it’s a significant component of the film and contributes to the feel and intensity. While the music is playing, there are no sex noises, but once the song is over, we get to hear the women moaning and sighing. There are hardly any words spoken (there don’t need to be!).
Overall, I highly recommend this for anyone looking for very real, raw, intense, seductive, gritty, fleshy, creative, inspired lesbian porn!
One reviewer compared The Crash Pad with One Night Stand (Pour Une Nuit):
”I think the overall quality of One Night Stand is higher than the Crash Pad--there is more attention paid to the aesthetic qualities, for one thing. The whole film is very cohesive: the camera work, lighting, sound, etc. work hand-in-hand with the sex itself to make a truly arousing and beautiful movie. The chemistry between partners is high, which makes it feel very real.
One thing that Crash Pad has going for it, though, is that it doesn’t have the artsy camera work and the loud music, things that work well in One Night Stand but are not always what you want. In Crash Pad, you get a straight, long camera shot of the women’s entire bodies, interspersed with some long genital close-ups. The camera work in One Night Stand is frenetic at times, and while you get an overall *feel* for what’s going on, you don’t get to look at any one body part or position for a very long time. In Crash Pad, you can kinda feast your eyes on the scene before you for a while. Plus Crash Pad just has sex noises instead of mood music. I also think the actors in Crash Pad are more aware of the camera and play to it, whereas the actors in One Night Stand seem like they could care less that the camera is there (both of which have different benefits).”
90 min. Directed by Emilie Jouvet. In French with English subtitles. 2008.