I don’t think I’ve ever critiqued two Metart HD erotic movies back-to-back in the history of this blog. That fact, in and of itself, seems reason enough to go ahead and do just that. There was no rhyme or reason to my selection method, which isn’t always the case. Here I simply chose the most recently released movie and pressed “play.
I don’t go into “Tideni” completely unaware and uninformed, however. I’m familiar with the star of the piece, Zemira A, because I had the pleasure of reviewing her very first Metart erotic photo gallery, and I liked it quite a lot.
As it happens, the artist who shot Zemira A’s debut, Rylsky, also directed “Tideni,” and his involvement is enough to create interest and heighten anticipation.
Rylsky is a thoughtful, opinionated, and insightful artist. He’s part technician, part sculptor, part psychiatrist, and part psychic. He not only captures the outside of a model, he strives to get into her mind to expose her emotions. In “Tideni” he takes on the role of storyteller, and adds a bit of mystery and magic to the mix.
Zemira A, elegantly dressed, strides down the street. She enters a café and takes a seat. She notices a pair of sunglasses on the table before her, then picks them up and tries them on. Instantly her view — and the viewer’s — changes. Now Zemira is totally nude and lounging on a bed. Surprised by what she’s seen she takes the sunglasses off, we return to the café, her curiosity is piqued once more, she puts the shades back on, and we return to the nude bedroom scene. It’s a cleverly devised and executed little trick!
The nude scenes — which constitute the bulk of the film — find Zemira A in that previously mentioned bedroom, and then in a living room. The camera takes its time lingering over the details of Zemira’s body. Her breasts — those sensationally shapely, firm and inviting orbs with their perfect plump nipples — are featured, as well they should be. In the living room setting we also get a long look at the model’s backside and her long-limbed body.
Zemira’s personality is on display throughout. There’s something slightly self-conscious, but entirely charming, about her performance. She’s not quite shy, but there’s a tentative, somewhat uncertain aspect to aspects of her performance. Make no mistake, Zemira A is nothing less than adorable — perhaps she just needs to appear in a few more movies to hone her motion picture performance style.
In “Tideni,” Rylsky has created an engaging and clever little story to showcase an eye-pleasing and libido-teasing beauty to excellent effect. Well done.