Her Spitting Image

Overview: Bree Mills produces two tales of forbidden lust from the pen of writer Fistopher Nolan and brought to life by directors Kay Brandt and Joanna Angel.

Rachael Cavalli, Kenzie Reeves and Brad Newman (“Her Spitting Image”):

Cara (Rachael Cavalli) lies awake in bed next to her sleeping husband, rubbing her pussy furiously and teasing her nipples with her free hand. Her fingers drip with the excitement of sex, and her gasps of pleasure rouse Mitch (Brad Newman), who takes her wantonness as an invitation. Unfortunately, Racheal rebuffs his advances coldly, feigning fatigue as a reason to avoid coupling with her husband. Talk about getting blue-balled!

The next day, the beleaguered consort is drowning his sorrows in a bar when he notices his waitress’ striking resemblance to his wife. One cute conversation later, and Ellie (Kenzie Reeves) has agreed to come back to Mitch’s place to “flirt.” He shows her a picture of his wife taken when she was about Ellie’s age, and the resemblance is undeniable. Ellie agrees to do her hair and makeup like Cara to feed Mitch’s fantasy of making love to his wife back when they were still in love, and it starts out beautiful yet kinky. Things take a drastic turn when Cara comes home and catches them in the act, and after a tense, emaciating exchange with her husband, Cara finds herself coerced into joining the scandalous tryst. This is the thing fantasies are made of, and Mitch is like the Nintendo 64 kid on Christmas. He sits back and allows Ellie to get herself off on his cock over and over before finally getting a chance to pound his wife. Months of pent-up aggression are expelled with every vivacious thrust into Cara’s previously locked down pussy, and Mitch relishes every moment of it.

Adira Allure and Stirling Cooper (“Fender Bender”):

Lana (Adira Allure) and Cal (Stirling Cooper) are brought together by fate when she crashes into him in a moment of inattentiveness. Though both drivers are unharmed, Lana seems overly distraught when Cal mentions that they should call the police and let their respective insurance companies handle everything. Lana begs Cal to take her money and fix his car as long as he doesn’t involve the cops, but once Cal realizes how desperate Lana’s plight is, he offers her an alternative solution. She can fuck him, or she can go to jail. This is the taboo nature of the scene, and both performers play it incredibly well. Cooper is disgustingly slimy, and Allure is uncomfortably vulnerable. The way she cowers on the couch as Cooper undresses really leans into the fantasy, and Cooper’s manhandling of her as he humps her like a rabbit is arousing and simultaneously nauseating. However, as Cooper continues to stimulate Allure’s body, her disgust melts into a burning lust that she cannot resist, throwing her head back and moaning in ecstasy. By the time Cooper unloads in Allure’s mouth, she’s hungry and ready.

Kay Brandt is a fantastic director, and she really does a good job bringing her story to life. She creates a somber tone revolving around multiple characters, and she gets great performances from her cast. Joanna Angel, a celebrated director in her own right, takes a much more direct approach to her fantasy. It’s impossible to watch that short film and not feel pity, disgust, and desire all at once. That’s the mark of a master director.