Take Him, Not Me

Dante Colle headlines two moody, dark vignettes that explore fetish themes of cuckolding, submission and humiliation in the first scene and straight-guy seduction in the second.

The debut feature for Disruptive Films, last year’s “The Last Course” won the 2022 XBIZ Award for “Gay Movie of the Year,” while the seven-man orgy that concludes the film was a nominee for “Gay Sex Scene of the Year.”

Colle and Dakota Payne are a married couple who have apparently shown off too many details of their luxurious home on social media; Johnny Ford is a burglar with a sadistic streak who easily cases the joint, breaks in and threatens them with increasingly personal demands.

The action kicks off with Colle and Payne passionately making love in bed; the sexplay is not explicit, but still quite erotic. As Colle grinds atop hotbod Payne, Ford can be seen outdoors, in the background, skulking. He disappears, even as the lovemaking inside continues. The slow-building tension is a nice touch.

Ford isn’t satisfied with valuables; he wants to humiliate both men. His coercion brings out unflattering aspects of the others’ behavior. Colle offers himself up first, clenching his body as Ford fucks him; he’s infuriated when Payne is clearly turned on. The latter is next to be fucked and finds himself more in sync with Ford. They also suck cock with vigor; Colle and Ford dump thick loads onto Payne’s pretty features and then Ford leaves them to deal with the emotional wreckage.

In the second vignette, titled “My Stepbrother’s Bitch,” lanky and handsome troublemaker Carter Woods turns up unexpectedly at the home of Colle, his long-estranged stepbrother, in need of a place to stay.

A lot of time is devoted to establishing their fractured relationship; things eventually seem to be settled, until Colle reveals he’s gay. Woods is homophobic and reluctantly agrees to sexually satisfy Colle in exchange for room and board.

The fetish of coercion and straight-guy seduction is rather intimately explored; Woods chokes and gags on Colle’s cock and slowly relaxes as Colle fucks him with increasing intensity in a range of intimate positions. Woods jerks out an intense orgasm onto his abs, while Colle gives him a facial and struts away. When he’s out of sight, there is one more twist to the storyline.

Low, natural lighting and close, intimate editing highlights the role-play in both scenes. Ford is appropriately menacing in the first vignette, while Payne believably cycles through emotions of fear, embarrassment and eventual submission (he walked away with “The Last Course” tucked under his arm). Colle, of course, is a dreamboat in tight pants with buckets of low-key, natural charisma and a relaxed physicality.