Liberated

Liberated 2 essays the journey of four modern characters from excelling in sex to knowing how to love. Through games and wild adventures,our protagoinsts come to realize that liberation is not just for the body but also for the heart.

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Malagkit

The story of Celia and her family whose source of income is cooking and selling malagkit. Celia was forced to marry Igme whom her parents got indebted to although she is still emotionally attached to the another man she loves.

Maye Tongco
Sydney Segovia

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Darang

Darang is a story about a girl named Akemi who in her desire to fulfill her longing for Elmo found herself trapped in a prison of her own making. Until she met Samuel who has so much resemblance with Elmo. From the time Samuel lives with her as a boarder, her sexual urges intensely awakened believing that Samuel can take the place of her long lost sweetheart Elmo, who has a brush with the law and gets killed in a shoot-out when they were escaping with the looted money. Will Akemi be drawn to the heat of her desire or will she defy all odds just to be with the man she longs for?
This movie is directed by Lucas Mercado of Libido.

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Xerex

                                                                                              Title:

XEREX

Running Time: 

108  min

Lead Cast:

Aubrey Miles, Jake Roxas, Jon Hall, Kalani Ferreria, Armida Siguion-Reyna, Luis Gonzales

Director: 

Mel Chionglo

Producers:

Lily Monteverde

Screenwriter: 

Roy Iglesias

Music:

Jobin Ballesteros

Editor: 

Jess Navarro

Genre:

Bold/Light-Drama/Suspense

Cinematography: 

Augusto Cruz

Distributor:

Regal Films

Location: 

Manila

Technical Assessment: 

• • •

Moral Assessment: 

+ +

CINEMA Rating:  

For mature viewers 18 and above

Tatlong uri ng mga babae ang naglahad ng kani-kaniyang sexperience na pawang nalathala sa artikulong Xerex: Sa "Kama", si Breezy (Aubrey Miles) ay isang kolehiyala na unti-unting namumulat sa sex dahil na rin sa kanyang modernong Lola (Armida Siguion-Reyna) na bukas sa usaping pagtatalik. Minsan sa isang costume party ay di sinasadyang nakaniig niya ang campus heartthrob na si Hunk (Jake Roxas). Aakalain ni Breezy na si Hunk ay seryoso sa kanya ngunit sadya pala itong mapaglaro kung kaya't gumawa siya ng paraan upang paglaruan at makaganti dito. Sa "O" naman ay malapit ng ikasal si Marge (Aubrey Miles) na naguguluhan kung siya ay tutuloy pa sa pagpapakasal sapagkat hindi niya naranasan sa lalaking kanyang pakakasalan ang rurok ng ligaya o orgasm.  Naranasan niya ito sa isang estranghero (Kalani Ferreira) na kanyang nakaniig ng limang magkakasunod na araw.  Ito ang lalong nagpalala ng kanyang pagkalito.  Isang probinsiyanang elevator girl naman si Jasmin (Aubrey Miles) sa "Butas" na pinagpapantasyahan ang isang matipunong lalaking (Jon Hall) araw-araw sumasakay ng elevator.    Nag-umigting lalo ang kanyang mga pantasya nang masilip niya sa "butas" ang pakikipagtalik ng kanyang bagong kapit-kuwarto. 

Isang makabago at kakaibang uri ng paglalahad ng kuwento ang Xerex.  Nagsubok ang pelikulang tumaliwas sa kumbensiyon ng tipikal na pelikulang bold o drama.  Naging matagumpay naman ang Xerex sa aspetong ito sapagkat pawang batikan ang manunulat (Roy Iglesias) nito't direktor (Mel Chionglo). Maayos ang daloy ng kuwento ng bawat kabanata na hindi lamang nakasentro sa "sexperience" kundi nabigyang lalim at laman din ng pelikula ang mas makabuluhang aspeto ng kuwento.  Wala nga lang malinaw na iisang konsepto ang trilohiya kung kaya't hindi gaanong malinaw ang nais sabihin nito sa kabuuan. May mga mangilan-ngilang sablay din sa editing. Hindi pa rin maikakailang hilaw at malamlam ang pag-arte ni Aubrey Miles. Hindi niya tuloy nadala ang pawang mga baguhan niyang kasama bagkus ay nahila pa niya ang mga ito pababa.  Naisalba naman siya ng ilang batikang artista na di matatawaran ang husay tulad nina Armida Siguion-Reyna at Ynez Veneracion.    

Ang mga kuwentong inilalahad at inilalathala sa mga artikulong tulad ng Xerex ay mga karanasang sekswal (tunay man o imahinasyon) na may layong gawing publiko ang mga kuwentong dapat lamang pinag-uusapan ng pribado. Taliwas sa kanilang pananaw na ito ang paraan upang mapalaya ang repressed na pagnanasa ng mga Pilipino, naniniwala naman ang CINEMA na hindi ang mass media o pelikula ang akmang behikulo sa ganitong layon.  Ang pagkamulat sa seks ay dapat ginagabayan din ng mga nakatatandang may tunay na malasakit upang hindi maging baluktot ang pananaw ng mga kabataan sa seks na kadalasang nagiging ugat ng maraming problema. Hindi naman lubusang naging iresponsable ang pelikula dito. Sinubok din ng Xerex na magbigay-aral at babala sa mga may malikot na kaisipan na pag-isipang mabuti ang mga gagawing hakbangin lalo na sa pagdidiskubre ng mga karanasang may patungkol sa seks.  Gayunpaman, hindi pa rin maitatatwa na naging malabis ang hubaran at bulgar na salitaan sa pelikula na maaaring magkaroon ng malakas na impluwensiya sa mga makakanood.

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Sukdulan

Title:

SUKDULAN

Running Time: 

105 min

Lead Cast:

Katya Santos, Raymund Bagatsing, Carlo Maceda, Bobby Andrews, Daria Ramirez

Director: 

Mac C. Alejandre

Producer: 

Vic del Rosario

Screenwriters:

Edgar Ilao

Music:

Eazer Pastor

Editor: 

Genre:

Drama/Bold

Cinematography: 

Distributor:

Viva Films

Location: 

Technical Assessment: 

• • ½

Moral Assessment: 

+ ½

CINEMA Rating:  

For mature viewers 18 and above

Sa biglang tingin ay larawan si Elaine [Katya Santos] ng isang kontentong babae sa piling ng kanyang asawang si Orly [Raymund Bagatsing]. Ngunit sa likod ng animo'y maayos na pagsasama, may suliranin silang dinadala patungkol sa kakayanan ni Orly sa kama.  Ang suliraning ito'y naging dahilan ng pagiging bugnutin ni Orly na labis na ikinasama ng loob ni Elaine. Dahil dito ay sinubukan niyang idarang ang sarili sa apoy ng panunukso ni Miguel [Carlo Maceda], isang mapusok na binatang nangahas magpakilala sa kanya.  Ninais ni Elaine na magwala at mag-eksperimento at naranasan niya kay Miguel ang kakaibang ligayang hindi niya nararanasan sa piling ng asawa.  Halos mahulog na ang loob niya kay Miguel habang si Orly ay patuloy na nahihirapan sa pagsusuyo sa kanya upang maibalik ang dating sigla ng kanilang pagsasama.  Lingid sa kaalaman ni Elaine ay pinaglalaruan lamang siya ni Miguel at nais lamang siyang isama nito sa kanyang koleksiyon ng mga babaeng naikakama niya.  Mabubulag si Elaine sa pita ng laman hanggang sa umabot ang lahat sa sukdulan na magbabadya ng tiyak na kapahamakan.

Isang simple at halos karaniwang kuwento ng pagtataksil ang Sukdulan na binudburan ng iilang bagong elemento upang mabigyan ito ng panibagong bihis.  Mahuhusay ang pagkakaganap ng mga pangunahing tauhan na sina Raymund Bagatsing at Katya Santos.  Kapansin-pansin din ang husay ni Daria Ramirez bilang bulag na ina ni Orly. Ang baguhan namang si Carlo Maceda ay nangangapa pa sa pag-arte. Kontrolado ang daloy ng kuwento na nakasentro sa babaeng nagsubok magtaksil sa asawa. Ngunit kitang-kitang may mga ginaya sa pelikulang Unfaithful. Hindi rin kapani-paniwala ang maraming eksena ng pagtatalik na ginawa sa mga kakatwang sitwasyon.  Bagama't kathang-isip, malayong-malayo na mangyari ang mga eksenang ito sa tunay na buhay sapagkat kulang sa lohikal na pagsasalarawan ang Sukdulan.  Hindi rin nito nakuhang palalimin ang emosyon at karakter ng mga tauhan.

Talamak na tema sa pelikula sa kasalukuyang panahon ang pagtataksil ng asawang babae. Ang mga ito kaya'y kathang isip lamang o tunay na nangyayari sa kasalukuyan? Maari rin kayang ito ay hindi naman talaga bago ngunit maaaring senyales lamang ng nagbabagong pagtingin at pananaw sa imahe ng kababaihan? Kung ito ay paraan ng paglaban sa namamayaning "double standard" sa lipunan, maaari itong katanggap-tanggap. Ngunit hindi ito ang nagiging kaso tulad sa pelikulang Sukdulan.  Bagama't naging matapang ang bidang babae sa paglaban sa pang-aapi ng asawa, pinalutang pa rin ang kahinaan nito sa pagpapagamit at pagiging sunod-sunuran sa kalaguyong lalaki na pinaglaruan lamang siya.  Lumulutang sa pelikula ang pagsasabi nitong mas matinding parusa sa kapahamakan ang mangyayari kapag ang babae ang magtataksil at kahanga-hanga ang isang lalaking kayang magpaikot ng babae sa kanilang palad.  Oo nga't sinasabi ng pelikula na walang kahihinatnan ang pagtataksil kundi kapahamakan, taliwas pa rin ito sa dami at haba ng mga eksena ng pagtatalik na siyang tunay na bentahe ng pelikula. Walang mabuting mapapala sa pelikulang katulad nito.

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Scorpio Nights

Scorpio Nights (Peque Gallaga, 1985)

Park Jae-ho's Summertime (2001) is an observation of a young man's descent into sexual adventurism. The man, an activist who is hiding from the authorities, lands in an apartment directly above that of a married couple. Through the several holes on his floor, he observes the man from downstairs having sex with his wife, who seems to be in a mechanical trance. One night, the activist proceeds downstairs, pretends to be the husband, and makes love to the wife, who is again in a mechanical trance. When the wife discovers that it is the activist and not her husband who is having sex with her, she consents, and the two engage in an extremely dangerous love affair. The erotic escapades happen amid a backdrop of Korean political unrest, blatantly in display during the non-sexual moments of the film. Sadly, Summertime is quite simply an unenticing piece of muddled erotica.

Scorpio Nights, the 1985 film that directly inspired Park's beautifully photographed but inert dud, is undoubtedly the better film. Scorpio Nights tackles one hot summer where a student (Daniel Fernando) is left alone in his dorm room, which is directly above the apartment of a security guard (Orestes Ojeda) and his wife (Anna Marie Gutierrez). The student peeks through one of the holes that separate their rooms, observes the couple having sex at night, assumes the identity of the husband to have sex with the sultry wife, gets addicted to the dangerous relationship, and finally meets a grisly end. Minus the very specific historic-political setting of Summertime, plot-wise, the two films are almost identical. However, Scorpio Nights achieved an unsurmountable atmosphere of fetishistic, fatalistic and erotic danger that Summertime can never do so with its period-piece, self-important yet soft core pornographic approximations.

What differentiates the two films is its setting. Scorpio Nights, unlike in Summertime with the antiseptic interiors of the secret lovers' love nest, gloats in excessive filth, palpable heat, and unbearable humidity. Director Peque Gallaga, who started as production designer for great Filipino directors like Eddie Romero (Ganito Kami Noon, Paano Kayo Ngayon (This Was How We Were, What Happens to You Now, 1976)) and Ishmael Bernal (Girlfriend (1980) and City After Dark (198o)), exemplifies a very keen eye for detail. Gallaga's Oro, Plata, Mata (Gold, Silver, Death, 1982), which many local critics regard as his masterpiece, is the paramount example of a work of a production designer-turned-director. The film is sumptuous to look at; the period details are pitch perfect; there is a fathomable attention to outward aesthetics (the famous exodus scene where rows of people and their carabaos pass by a backdrop of burning houses is one spectacular feat). That aesthetic sense common in most production designer-turned-directors, once translated in a story that inhabits a world of upstairs-downstairs sexual trysts and societal repression, results in one of the most thematically intriguing, visually arresting, and sweaty-and-kinky erotic films ever made.

Scorpio Nights is almost entirely shot inside a low-income compound that houses a boy's dormitory (the interiors are essentially masculine, with calendars and posters of scantily clad women adorning the walls; also representative of that repressed attitude towards sex (or anything that was abhorrent to Ferdinand Marcos' concept of new society) that is very particular during Marcos-era politics), several single-family dwellings, a welding shop, a basketball court, and a communal bathing area. The area is in itself a masterpiece of production design (by Don Escudero). The courtyard (if you can even call it that) is the perennial meeting place, a flea market of invaluable rumors and stories of macho conquests. Separating these areas are hole-infected partitions, glass windows, and flimsy plywood doors. Certainly, privacy is a luxury here thus, the entire compound is practically the breeding ground for future rapists and sexual deviants with its daytime banter of seedy type and its nighttime invitation for voyeurism and other acts.

The grime, rust, and mud that line that quintessential Manila compound only emphasize the lowlife morality that fuels the near-ridiculous storyline. During its non-erotic moments, the film takes a neo-realist stance at least up to the point wherein the student discovers the unlikely phenomenon of having his sexual fantasies turn into his present reality. Gallaga then revels in erotic camp, of pink mosquito nettings enveloping lustful lovers at the height of their sexual activity; or transparent raincoats hiding their naked bodies from the rain. During those moments of zany visual and sexual excesses, we get a glimpse of exactly why the allure of the downstairs wife is unbearable, even to the point of fucking in the midst of the threat of death. It's that unwavering boyhood fantasy that Gallaga so excellently wants us to believe in; and if we don't necessarily believe in that fantasy overcoming reality, at least it was one hell of a ride.

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Gayuma

Gayuma (Pilgrim Lovers) is a film borne out of love and sheer dedication. Armed with a budget that is minuscule even if pitted against other independent productions, director Alvin Yapan and producer Alemberg Ang ventured on to mount a film based on one of Yapan's oldest stories, a concept developed and evolved from an exercise among literary comrades in college who dared each other to come up with a story that ends with the sentence "I love you." The result is evidently imperfect. However, despite its obvious imperfections, the film perseveres with the strength of its story, making it a testament to Yapan's boundless imagination.



In a parochial Bicol town, a statue of the Sto Niño suddenly started talking and dancing, prompting the town's parish priest to visit to investigate and to exorcise from the statue whatever spirit that is haunting it. With him is Delfin (Kalil Almonte), his sacristan and assistant, who is advised by the verbose Sto Niño statue to concoct a love potion so that he can easily woo Carla (Mercedes Cabral), a rich girl who is already in love with another man, into leaving her man for him.



The film is divided into two parts. The first half focuses on Delfin who is enveloped by his longing for unreachable Carla and therefore takes the Sto Niño statue's advice to easily win the affections of the girl. The second half focuses on Carla. Carla, under the spell of Delfin's love potion, carries Delfin, who mysteriously fell in a coma, through fields, mountains and forests, to a pond that will cure Delfin of his affliction. The two parts are differentiated by mood and feel. With steady visuals, the first half establishes the traditionally masculine conviction and determination of Delfin in his pursuit for Carla's undivided attention. The second half, characterized by markedly jerky camera movements, visualizes Carla's stereotypically feminine confusion and uncertainty as she carries Delfin, inspired either by the sure effects of the love potion or true love.



Gayuma is ridden with details that pertain to certain agendas Yapan may or may not be that successful in fleshing out, like a certain extended scene with the gay beautician who fancies Delfin and an extraneous scene with certain rebels who rescue Carla from rapists in the forest (Yapan's commentaries as to how homosexuals and communist rebels, respectively, are being used in Philippine cinema). It also suffers from lacking polish that could have added a little bit more of dread in the earlier part or dreaminess in the middle part or danger in the latter part.




However, despite the immense gap between what Yapan wanted to say and his budgetary limitations, the film still manages to communicate the harsh complexities of love and loving within a story that is simple yet brimming with color and flourish. There is poignancy in Delfin's succumbing to ease of romance, and wickedness in Carla's torturous trek towards the healing pond to rescue the man he may or may not actually love. There are no blacks or whites, just damning greys in Yapan's peculiar love story. That "I love you" that was whispered in the film's final second trumps all the "I love you's" carelessly and emptily spoken, shouted, and written in other films I've seen before.

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Mga Babae sa Isla Azul

A group of hot and steamy models looking for some good time and a little romance on a
beautiful island finds terror and death awaiting them in every corner.

• Alma Soriano
• Ynez Veneracion
• Monica Madrid
• Isko Moreno
• Patrick Guzman
• Gem Castillo

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No Regret (English Sub) uncut version

No regrets

Su-min is an orphan who, having turned 18, is required to leave his orphanage. Unable to pay for university, he heads for Seoul where he works various jobs to pay for computer classes. One of those jobs is driving drunks home from bars. After losing his factory job, Su-min ends up taking a job at a host bar. Initially the boss of this host bar is reluctant to take him on, as he knows from experience that openly gay hosts will often leave when they become romantically involved with one of their clients. Having given up on love, Su-min believes that this won't happen to him, until one day a man from his past enters the host bar. That man, Jae-min, is a former driving client, who has fallen in love with Su-min. Su-min refuses his advances, and accepts him as a client only once, and threatens to kill him if he hires him again. Jae-min is undeterred, and after several weeks go by, Su-min gives in. They are very happy in their relationship until Jae-min's mother discovers them together. She orders Jae-min to marry the woman he's been dating halfheartedly. Su-min is angry. With another man from the host bar, they kidnap Jae-min one night and take him to a shallow grave in the forest. Su-min watches passively as his colleague throws dirt on Jae-min, but eventually moves to stop the plan. His colleague already depressed over a two-timing girlfriend, whacks Su-min with the shovel and leaves the two there in the grave. Jae-min later awakens and takes Su-min to the car and they crash a tree while going back. As dawn breaks in, the two of them start to awake at the same time cops show up at the scene but inside, without paying attention to the cops, Su-min and Jae-min silently reconcile.
[edit]Cast

Lee Yeong-hoon ... Su-min
Kim Nam-gil (as Lee Han) ... Jae-min
Jo Hyeon-cheol
Kim Dong-wook
Jeong Seung-gil
Lee Seung-won
Hwang Choon-ha
Kim Jung-hwa
Lee Seung-cheol

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Paupahan

Three unrelated but interwining stories of characters-all seemingly ‘living dead’-unfold in this anthology of lives of have-nots who have become commodities that are either for sale or for hire,in a most unlikely milieu:a public cemetery just a stone’s throw from a squatter’s area( Kalye Sangandaan) in the city near the lake.
Gloria ( GLORIA ROMERO),a 73 year-old caretaker of a rich family’s mausoleum,has a simple wish:to be buried beside the tomb of her husband Donato who has long been dead.But the same mistress,ETANG ( LUI MANANZALA),with whom Gloria shared her infidel husband,continues making life miserable for Gloria.


DADENG ( GERMAN MORENO),Gloria’s 65 year-old gay neighbor who sells flowers for the dead in funeral parlor,is burdened by the child ( of a dead love-of-his-life) now a teen gay Byuti ( KIRBY DE JESUS ),an incurable romantic who is head-over-heels in love with Topher ( JOSEPH BITANGCOL) ,a 19-year old “user-friendly” bum,later revealed to be a closet “gay”.


Estrella Kerubin or Star ( KRISTA RANILLO ), 21, is a trying-hard bit-player who has not stopped dreaming,believing and surviving in a dying showbiz. She’d do anything for her ambition,even use her body to please the powers-that-be,including a caterer/caretaker( MON CONFIADO) who claims connections with the production staff. Star has a ‘silent war’ with mother Lucinda ( SNOOKY SERNA),48,whom Star blames for the death of her father/stuntman).One common thing,though in this feuding mother-daughter tandem is their compulsion to work and earn.Lucinda brokers for neighbors who sell their kidneys and other vital parts for a fee.Ironically,she’s a chain-smoker who tries to survive despite her cancer-stricken lungs. While ,Tonio Torres ( ALLEN DIZON ),29,is a male starlet-member of an all-male group called “Wild Boys”.He has seen better days as a bold starlet-now-a pimp to new aspirants. Star calls him a showbiz “kuya”.Despite his misgivings, TONIO’S a resourceful breadwinner who uses his income for expanding his humble abode by building adjoining rooms he rents out for added income. He is also fighting for the custody of his daughter.


Roberto San Pedro ( JAY MANALO ), 32,an ex-convict,gets paroled by a powerful armed group who uses him as an assassin.A man of few words whose eyes reveal personal tragedies and utter bitterness,he’s a reluctant hitman married to a nervous wreck,Angela San Pedro ( ANGELU DE LEON), 29, a good former public school teacher who has lost job after cracking due to extreme pressure.


Almost all of the above stories are resolved.Others are open-ended ‘coz that’s reality. Being treated as a commodity is a hurting truth we have to live by.


Allen Dizon, Angelu De, GERMAN MORENO, Gloria Romero, Jay Manalo, Krista Ranillo, SNOOKY SERNO


paupahan movie, paupahan, pinoy bold movie, pinoy bold movies, paupahan full movie, krista ranillo paupahan, krista ranillo paupahan movie, watch paupahan online free, watch paupahan, paupahan movie watch

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Sagad Sa Init

Sagad Sa Init 1998 Directed by Uro Dela Cruz

Synopsis

Sagad sa Init stars Jomari Yllana as a part time dancer and male prostitute. While having an affair with a politician’s wife (Sharmaine Arnaiz), he meets and falls in love with Ara Mina, who turns out to be the mistress of the politician. These illicit relationships slowly unravel during the course of the movie and everything comes to a suspenseful end.

CAST

GENRES

Cast

Ara Mina Sharmaine Arnaiz Jomari Yllana

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KangKong

Title:

KANGKONG

Running Time: 

101 min

Lead Cast:

Rodel Velayo, Brigette de Joya

Director: 

Mauro Gia Samonte

Producer: 

Robbie Tan

Screenwriter: 

Mauro Gia Samonte

Music:

Bienvenido Medina

Editor: 

Ferren Salumbide

Genre:

Drama/ Love Story

Cinematography: 

Distributor:

Seiko Films

Location: 

Tagaytay City

Technical Assessment: 

• • •

Moral Assessment: 

+ + ½

CINEMA Rating:  

For mature viewers 18 and above

Kangkong is the story of a young man who undergoes conflict and confusion in discerning if his call to the priesthood is coming from God or only from his grandmother Nyora Isyang (Odette Khan). An obedient "lola's boy" from birth who is set on entering the seminary, Carlos (Rodel Velayo) displays extraordinary resistance to advances from aggressive and attractive girls. But in the heat of a determined girl's pursuit-aggravated by his ignorance in matters of the flesh-his defenses collapse and he bites into the apple, so to speak. In love with the shameless balikbayan Pamela (Brigette de Joya), he escapes his pushy grandmother just as when she is about to leave him in the seminary. That's where the story really begins.

Many parts of the movie can make the viewer wonder whether it's a drama or a comedy he's watching. Blame it on the lousy script made even lousier by poor delivery and amateurish acting. The inconsistent characterization, overacting to appear funny, and the ill-timed use of slapstick and side remarks also tend to trivialize the otherwise worthy subject. The editing is really bad, and the cinematography even worse-just imagine heads cropped out of the screen, body parts entering the scene when they shouldn't be ("Whose feet are those?"), etc. Outside of the evidently well-thought out and shot seduction scenes, the movie could easily be mistaken for a first attempt at film making by cinema students.

Kangkong comes up as another one of those movies with suggestive one-word titles like Talong, Warat, Sutla, and one more coming soon, Tuhog. The connection between title and subject matter is almost non-existent, and at best, forced to imply a promise of sensual gratification in the movie. However, this seems to be a cinematic trend. For instance, you might ask, Why Kangkong? Who knows, although one thing is sure. The naïve young man and the sex-starved balikbayan often romp about in the kangkungan, and the girl is a kangkong vendor besides. Congratulate yourself if you're reflective enough to see that the kangkungan could very well symbolize the mud of fleshy pleasures that keeps the young man from following a divine calling.

By the way, Kangkong presents a good story; it is like a haunting song sung off-key. Despite its horrid technical flaws, it's well worth one's time and money, because it focuses on an issue that gains relevance in the light of the Church's need for vocations these days. Because of the explicit sex scenes, MTRCB says the movie is For Adults Only; CINEMA wishes, though, that there were less of those torrid scenes so that it may be shown to a wider audience for discussions in families or institutions.

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Sex Travaganza

Sextravaganza shows Claude Prosper Jolyot de Crebillon fils at his ablest. It begins where most novels end - in the bedroom (of a fashionable lady of 18th Century France). At night. And it ends there the following morning. Its dramatis personae are two - as in the Garden of Eden. A man and a woman. The difference is that French women need no snake to tempt them. And Frenchmen no apple. Men and women had traveled far since the days of Adam and Eve. Sextravaganza is as simple, and as risque, as all that. But around this simple setting what a masterpiece of the subtle and the sophisticated does Crebillon paint! It is a most extraordinary picture of the battle between the sexes. On one side the male strategy of attack: the aphrodisiac quality of erotic conversation, the incandescent power of casual caresses, the psychological moments of action. On the other side the female tactics of defense: the evasive changes of subject, the reprimands of mock indignation, the agitations of approaching defeat. Finally, the tumultuous surrender . Thus, in the course of one night, a man and a woman, each of whom is in love with somebody else, gradually warm up to each other until they forget past pleasures in present passions .. Satire, irony, word-play and scandal abound.
 

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Sexposed

Category: Adult-Anthology Label Viva Tagalog Movie More surprises. More exposures. More viewing pleasures. You asked for more. You screamed for more. Now the luscious ladies of Philippine moviedom are giving are giving into your feverish desires. Enjoy a hefty serving of the hottest scenes ever to scorch the screens. This is the fourth volume of the sought after fleshfest video hosted by our favorite sex guru Asia Agcaoili. Meet the ultimate Pinoy sex goddesses in some of their memorable and ***illating skin clips, featuring a string of precious finds- Rosanna, joyce, Rica, Maui, Katya, Izza, Ynez, Criselda, Daisy, Sabrina M, plus the rest of the Hot Babes. Indulge in the exciting history of local sexdom- from bomba, ST, TT... and dash of exclusive "pene"-kula. Learn the top male sexual fantasies. Peek into unforgettable local voyeur films. Ditch the bedroom and discover the top love shacks to romp in. So take a seat and let Asia lead you to a world you have never been before. You'll find yourself coming back for more. Rosanna Roces Joyce Jimenez Maui Taylor Rica Peralejo Katya Santos Asia Agcaoili 

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Ang Pinaka Mahabang One Night Stand 2

Ang Pinakamahabang One Night Stand 2 is another indie film of Cris Pablo. On one very special night, four pairs of gay men from very different walks of life give in to their passions, hoping to find answers in the each other's arms. But as the night ends, some will be looking for something more substantial than a one night stand. Starring Arjay Carreon, Francis Sienes, Kahlel Urdaneta, Marcus Valmadrid, Ronald Tacluyan and Rusty Adonis.

Call Center

Boto MO, Boto Ko

Tubero


Huling Subok



Exam


Overnight Barkada

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