If there's one lesson to be learned from some good adult films, it's that the work doesn't have to be complicated or outrageously expensive to be good and hot. Case in point: Primal Penetrations.
The plot, if one can call it that, is simple. Photographer T.J. Hart is questioned by forestry agent Kyle Stone about complaints that there's been hanky-panky going on during some of her photo shoots out in the desert. Fortunately, Hart has an explanation... and it's one that should bring joy to the hearts of lighting technicians everywhere.
Take, for instance, Hart's session with Allysin Chaynes. The tiny blonde poses in a rocky landscape, all shadows and angles, wearing only a faux fur breechclout, and the primal conditions seem to have an erotic effect on her. A few glances at Mark Vega, who's holding the reflector that'll light Chaynes' tits enough for a decent shot, and the two are ready to sneak off into a nearby ravine for pussy-licking against the rocky wall, mish on a handy blanket, horsie, a horizontal reverse cowgirl, and a quick swing-around move so Vega's cum can hit Chaynes on the chest.
That same basic scenario is replayed three more times, but considering the ladies involved, viewers aren't likely to become bored. First up is Stevie, her hair in two long braids, her tits proudly erect, her pubes covered only by a small patch of cloth and a wide, toothy grin plastered on her face. Needless to say, it's more than lighting tech (yes, another one) Cheyne Collins can resist. Before long, he's got her supine on a blanket, eating her pussy. B.j. follows, then mish, spoon and reverse cowgirl before a cumshot to her tits.
Similarly, blonde Zana gets the lick/suck/doggie/horsie treatment from Lee Stone, though she takes his spew right on her face. But that scene's only a lead-in to Kaylynn, who delivers a series of teasing poses that would bring wood to a eunuch... and doles so to Joel Lawrence, who chows down on her pussy as she stands in the rocky terrain, looking coolly innocent and beautiful. The innocence fades somewhat during her very drippy blowjob, and the following horsie and reverse cowgirl pretty much confirm that the lithe brunette really knows what she's doing. As a finale, Lawrence enters her pussy in a flat doggie position, and eventually cums on her ass.
All these recollections cut no ice with Kyle, however; he's ready to arrest Hart, when she pleads for him to hold off a few moments so she can change her clothes. Of course, when she reappears, it's in a primitive monokini, and the camera lingers over every curve in her body as she sashays, all hips and tits, in that sexy manner that only a beauty like Hart can deliver. It's too much for Kyle, who makes a dive for her pussy, and the two quickly wind up in 69. Mish follows, then a sort of vertical reverse cowgirl/doggie fuck, ending in a cumshot to her ass.
So ignore the nearly-inaudible dialogue and bask in the nom-worthy cinematography, courtesy of director of photography Ernst Steilglitz and cameramen Tom Goren and Philip Lesky, and Blade Simpson's equally worthy techno-industrial soundtrack. Then add Best Tease Performance noms for Hart and Kaylynn, and finally, a Best Director nod for Billy Moon. And then meditate on what can be accomplished by a true visual artist working with talented women, even on a budget.