Filmmaker David Stanley is an interesting character in Adult Enertainment history, and even his lesser efforts bear watching. This exercise in cynicism is tailored toward the physical talents of Vivid contract star Mercedez but it has its moments.
When not indulging his favorite foot fetish, Stanley economically portrays a cynical view of life and in particular life in L.A. Film's subtitle might be "Welcome to L.A.", though it does not remind me of the "floating relationships" genre of Alan Rudolph's iconic movie with that title he made 40 years ago (ouch!) for Robert Altman.
Mercedez plays a famous photographer, interviewed in the first scene by Kurt Lockwood for a magazine article before seducing him. After he shoots his wad on her belly and falls asleep, she takes his photo, setting up the title premise.
She's saddled with a ne'er-do-well blonde roommate (cute Holly Hollywood) whose idea of paying her rent is to pawn their TV set to raise the money. Holly humps Eric Masterson, cast (as he often is) for comic relief as a sleep-over pick-up who can't even remember his name, but remembers how to hump. Stanley's peculiar fetish (popping up in most of his films) is reflected in Mercedez keeping on just her thigh-high boots in her sex scene and Eric keeping on just his boots when he puts it to Holly.
Searching for a new roommate, Mercedez encounters Randy Spears in a club and they hit it off with some good dialog. Both of them are divorced, and quite cynical about love (and everything else) as a result. He informs her he's appearing at the club Wednesday doing a Spoken Word performance, so she should drop by.
In need of bread, Mercedez visits her agent Nicole Sheridan who is even more cynical than the rest of the cast. Nicole hands her some b.s. about no money for her photos forthcoming due to a gallery bankruptcy, but eventually lays it on the line: "Are we shtuppin', or not?." So our plucky heroine has Sapphic sex with Nicole in latter's office in return for the promised handout.
Spears' stand-up routine, shouting both sides of a husband/wife argument, is extremely poor, not the beat generation monologue I expected but rather some crap from Stanley's bottom drawer. The auteur does have a cameo role as the club emcee, and prattles on to his friend Randy with dumb remarks like "All women are like one woman with different faces".
Laying his troubles on Mercedez' shoulders, Randy tells her what caused his divorce, and we see a flashback of his ex-wife Jordan Haze stealing the spotlight as she's unfaithful with big-dicked Rick Patrick, deep throating with aplomb. Stanley very sloppily has Spears describing this scene as taking place at a "seedy crack motel", but we see him arriving at a very glamorous setting to observe Rick's facial for Jordan.
Finale has Mercedez & Randy finally humping away, culminating not surprisingly in a sensual foot-job, with Spears' money shot deposited on M's pretty feet. Fans know that Randy shares with his director a serious real-life foot fetish.
A bit of significance is added before the climax when Randy asks "So, when I fall asleep, are you going to take a photo of me?". She responds "I usually only take someone's photo if I never want to see them again". You have to watch the video to see what she actually does, but it leads to a most elegant final shot from Stanley.
One strange thing going on here is that in Nicole's scene as well as chatting with Spears at home, all of Mercedez' dialog is in voice-over, none of it synced to a shot of her on-screen but only heard when we're watching the reverse shot of Nicole or Randy. I couldn't figure this out until watching the BTS short subject, in which Mercedez expounds in detail how she used to beg for dialog in her films (a flashback of an earlier interview on the set of PT's "Sweetie Baby" documents this), but now she hates it. So Stanley evidently accommodated her by having her recite most of her lines in post.
When not indulging his favorite foot fetish, Stanley economically portrays a cynical view of life and in particular life in L.A. Film's subtitle might be "Welcome to L.A.", though it does not remind me of the "floating relationships" genre of Alan Rudolph's iconic movie with that title he made 40 years ago (ouch!) for Robert Altman.
Mercedez plays a famous photographer, interviewed in the first scene by Kurt Lockwood for a magazine article before seducing him. After he shoots his wad on her belly and falls asleep, she takes his photo, setting up the title premise.
She's saddled with a ne'er-do-well blonde roommate (cute Holly Hollywood) whose idea of paying her rent is to pawn their TV set to raise the money. Holly humps Eric Masterson, cast (as he often is) for comic relief as a sleep-over pick-up who can't even remember his name, but remembers how to hump. Stanley's peculiar fetish (popping up in most of his films) is reflected in Mercedez keeping on just her thigh-high boots in her sex scene and Eric keeping on just his boots when he puts it to Holly.
Searching for a new roommate, Mercedez encounters Randy Spears in a club and they hit it off with some good dialog. Both of them are divorced, and quite cynical about love (and everything else) as a result. He informs her he's appearing at the club Wednesday doing a Spoken Word performance, so she should drop by.
In need of bread, Mercedez visits her agent Nicole Sheridan who is even more cynical than the rest of the cast. Nicole hands her some b.s. about no money for her photos forthcoming due to a gallery bankruptcy, but eventually lays it on the line: "Are we shtuppin', or not?." So our plucky heroine has Sapphic sex with Nicole in latter's office in return for the promised handout.
Spears' stand-up routine, shouting both sides of a husband/wife argument, is extremely poor, not the beat generation monologue I expected but rather some crap from Stanley's bottom drawer. The auteur does have a cameo role as the club emcee, and prattles on to his friend Randy with dumb remarks like "All women are like one woman with different faces".
Laying his troubles on Mercedez' shoulders, Randy tells her what caused his divorce, and we see a flashback of his ex-wife Jordan Haze stealing the spotlight as she's unfaithful with big-dicked Rick Patrick, deep throating with aplomb. Stanley very sloppily has Spears describing this scene as taking place at a "seedy crack motel", but we see him arriving at a very glamorous setting to observe Rick's facial for Jordan.
Finale has Mercedez & Randy finally humping away, culminating not surprisingly in a sensual foot-job, with Spears' money shot deposited on M's pretty feet. Fans know that Randy shares with his director a serious real-life foot fetish.
A bit of significance is added before the climax when Randy asks "So, when I fall asleep, are you going to take a photo of me?". She responds "I usually only take someone's photo if I never want to see them again". You have to watch the video to see what she actually does, but it leads to a most elegant final shot from Stanley.
One strange thing going on here is that in Nicole's scene as well as chatting with Spears at home, all of Mercedez' dialog is in voice-over, none of it synced to a shot of her on-screen but only heard when we're watching the reverse shot of Nicole or Randy. I couldn't figure this out until watching the BTS short subject, in which Mercedez expounds in detail how she used to beg for dialog in her films (a flashback of an earlier interview on the set of PT's "Sweetie Baby" documents this), but now she hates it. So Stanley evidently accommodated her by having her recite most of her lines in post.