The Voyeur from writer/director Jacky St. James easily ranks among her best movies. Fans of porn with a plot are in for a treat, as the release features characters who feel fully fleshed out and developed and who draw viewers into the story.

Logan Pierce stars as a landlord who informs every one of his tenants that there are security cameras throughout their new residence. While most couples who move in seem to forget about the cameras, Pierce doesn’t, as he relies on what the lenses capture for entertainment.

His first renters are Chad White and Lily LaBeau, whom Pierce describes in voiceover as a typical suburban couple by day and freaks at night. The two engage in normal banter most of the time, but at night turn their dining room into a sexual playground where they engage in a bit of light BDSM play and dirty talk before enjoying one another sexually.

When the couple moves out, Pierce is sad to see them go, but is intrigued by his next renters, Valentina Nappi and Ryan McLane. More of a reality show, Pierce explains, the pair are volatile when alone but on their best behavior when Ryan’s brother Van Wylde visits. While Ryan tries to convince his brother he’s not the world’s worst husband, Valentina eventually tries to convince him she is the world’s best lover by flirting with him and rubbing his crotch until she blows him and they eventually have sex on the sofa. When Ryan comes home at the end of their tryst, the fight leads to the couple moving out of the house.

That leaves Pierce free to rent to Melissa Moore and her girlfriend Lyra Law. While the duo are still in the honeymoon phase of their relationship, Lyra convinces Melissa that they need a little dick in their life, so they bring Michael Vegas into the relationship. While Michael and Lyra really hit it off, the situation makes Melissa uncomfortable, and she eventually excuses herself from the sexual activity to take refuge in the kitchen. It’s then that she acknowledges the camera, wondering if Pierce is watching her at that moment. The moment leads Pierce to confront his reasons for watching and what being acknowledged does to him.

A chance encounter in real life adds another level to the interactions between Melissa and Logan, and it’s not long until things get physical between them.

As with every Jacky St. James movie, the sex scenes are almost tender, there is a real connection between each partner. Nothing about the performances—neither in the acting nor the sex—feels forced.

Hank Hoffman’s camerawork for the feature deserves mention, as well: The scenes that are meant to look as if the action is captured by security cameras do just that superbly.