Working with Eon McKai as her shooter, director Kimberly Kane crafts a triumvirate of erotic mood pieces that bristle with intelligence.

In the first scene, beautiful camerawork, a dark electro-rock song by Deathelectric and creative sets provide a backdrop for Kane’s exuberant exhibitionism as she masturbates wearing men’s briefs and a sailor hat. She’s joined by two sailors, played by perennial cougar bait Danny Wylde and Wolf Hudson, who performs for both gay and straight studios. Kane greedily sucks both cocks in a free-wheeling oral threesome with more than a little bisexual frisson.

The middle scene, shot on black-and-white film at the beginning, features Kane and Avy Scott in retro garb engaging in dom/sub play. Wearing a cocktail dress, Kane bosses her apron-clad slave, directing her to scrub the kitchen floor, until Scott’s lovely ass proves to be a distraction. As with Kane, Scott’s intelligence shines through in her performances; the verbal teasing between slave and master is as engaging as the visuals are stimulating.

Kane’s one-on-one session with Denis Marti also begins with an artfully shot tease, this time in a brightly painted and upholstered bedroom, followed by a vaginal sex session that leads seamlessly and realistically into anal intercourse. As both director and performer, Kane captures something rare here: a strong, hardcore sex scene that is at the same time intensely romantic and emotionally satisfying.