Something Borrowed

Stella (Elena Koshka) and Darren’s (Seth Gamble) wedding day was supposed to be the culmination to their journey of love and dedication to one another. Instead, the guests are growing restless due to unexplained delays in the ceremony. Determined to do his duty as the best man, Stella’s stepbrother John (Chad White) has spent the entire day trying to salvage the event. But when John finds Stella alone in her room stalling instead of getting dressed, he knows something’s wrong. Can John convince Stella to go through with the wedding, or does she have a secret that could destroy the lives of everyone involved? And where is Darren?

Ricky Greenwood once again brings one of MissaX’s stories to the big screen. These two work very well together, and the results are usually good. There are multiple taboo tropes in play here, including wedding day sex, fauxcest, and the infamous “bros before hoes” ideal. But there’s an additional layer of nuance to this story in the form of the kept woman trope, and it just might be one of the most complex stories I’ve seen from MissaX despite the presence of such common themes. For his part, Greenwood does an excellent job guiding the cast in bringing this story to life. There are some really nice shots that create the proper mood, and the sex is beautifully captured. I also think Greenwood gets Koshka to deliver the best acting performance I’ve seen from her, which is a credit to him.

With a cast this small, everyone really has to pull their weight — or the story can flounder, and the sex can lose some luster. Fortunately, Greenwood has assembled two of the industry’s strongest leading men in Gamble and White, and Koshka achieves a level I haven’t seen from her before. The audience will immediately sympathize with John and his predicament, and when Darren finally appears, viewers will feel a similar connection with him. But it’s Koshka who really makes the story come to life. Crazy and manipulative is the best way to describe her, and the way she treats both John and Darren supports that analysis. However, she does use a very poignant scenario to bend Darren to her will, and that scenario represents the strongest bit of writing in the film.

The sex scenes are dynamic, and this is definitely where Koshka shines brightest. When she’s fucking John, she’s confident yet simultaneously desperate. She starts out in complete control, teasing his cock with her mouth playfully. But once John’s dick is in her pussy, she becomes a puddle of grateful, starving, satisfied sex. She can’t get enough of him, but she can’t beg him enough for more either. When she climbs on top of him, she nearly expires in a fit of joy as she rides him — and when he fucks her doggie style, you can almost see her consciousness leave her body as she succumbs to the waves of pleasure rolling through her.

In contrast, the sex between Stella and Darren is therapeutic for Darren and performative for Stella. Darren needs Stella in this moment. His world is crumbling around him, and only the intimacy of his fiancée’s touch can save his psyche. For Stella, she’s giving Darren what he needs while getting something fun but unnecessary. She is much more free with Darren than she is with John, and it shows in the way that she’s willing to do things like fingering her own ass while Darren humps her desperately to give herself that extra boost of pleasure. It’s not that she doesn’t enjoy sex with Darren, but it doesn’t feed her the way sex with John does.

This is a fine short film that boasts some pretty great performances. With story-driven porn like this, the stronger the acting, the more impactful the sex. Everyone holds up their end of the deal, and that allows audiences to really immerse themselves in the sex beyond simply watching Koshka have sex with Gamble and White.