After making her mark as an actress and director in Lesbian videos, Nica Noelle firmly established her format and style with "My Sister's Lover", a deceptively simple yet moving Adult soap opera.
One of her personal heroines, Kylie Ireland, stars in a character role, underplaying as the frumpy, plain older sister of vivacious Lindsey Meadows. 4-vignette story structure with continuous theme is basic but effective, as Lindsey cheats on her wonderful boyfriend, leaving him to make love to Kylie on the rebound. I especially enjoyed this revival of those old weepers, Shirley Booth in "About Miss Leslie" coming immediately to mind, that find a whole new life in a porn context.
Film students will know the history of the genre on the big screen, stemming from the classic John Stahl studio dramas of the '30s, their remakes and extensions by Douglas Sirk in the '50s & '60s, and the genre's apotheosis in the '70s by the German wunderkind and Sirk fan Rainer Werner Fassbinder. Noelle has inherited RWF's mantle, and is for me the most exciting filmmaker (albeit in XXX video land rather than the big screen) working today.
Tyler Knight is ideally cast as the tall, dark and handsome hero of this interracial sex film, his muscular thighs literally dominating the screen when humping short and slight blonde beauty Lindsey. With a flower placed strategically in her hair, Kylie blossoms in the final reels, finding fulfilment in Knight's arms. Typecast as a cad, long-haired Nick Manning is suitably unsympathetic, cheating on Kylie with Kylie's BFF Michelle Lay, whose rubber face delightfully expresses her emotions in shorthand.
Though the camera comes unglued (amateruishly) at one point, this is very well-done and established the realistic depiction of sex on screen that Nica has adhered to ever since, though in recent years her art has morphed from girl/girl and boy/girl stories to her sublimating in an ongoing series of interesting boy/boy and transfemale breakthrough features. She marches to the beat of her own drum, and I am fascinated trying to keep up with her, just as I was challenged in the '70s, ultimately seeing all of RWF's prolific work for cinema and TV.
One of her personal heroines, Kylie Ireland, stars in a character role, underplaying as the frumpy, plain older sister of vivacious Lindsey Meadows. 4-vignette story structure with continuous theme is basic but effective, as Lindsey cheats on her wonderful boyfriend, leaving him to make love to Kylie on the rebound. I especially enjoyed this revival of those old weepers, Shirley Booth in "About Miss Leslie" coming immediately to mind, that find a whole new life in a porn context.
Film students will know the history of the genre on the big screen, stemming from the classic John Stahl studio dramas of the '30s, their remakes and extensions by Douglas Sirk in the '50s & '60s, and the genre's apotheosis in the '70s by the German wunderkind and Sirk fan Rainer Werner Fassbinder. Noelle has inherited RWF's mantle, and is for me the most exciting filmmaker (albeit in XXX video land rather than the big screen) working today.
Tyler Knight is ideally cast as the tall, dark and handsome hero of this interracial sex film, his muscular thighs literally dominating the screen when humping short and slight blonde beauty Lindsey. With a flower placed strategically in her hair, Kylie blossoms in the final reels, finding fulfilment in Knight's arms. Typecast as a cad, long-haired Nick Manning is suitably unsympathetic, cheating on Kylie with Kylie's BFF Michelle Lay, whose rubber face delightfully expresses her emotions in shorthand.
Though the camera comes unglued (amateruishly) at one point, this is very well-done and established the realistic depiction of sex on screen that Nica has adhered to ever since, though in recent years her art has morphed from girl/girl and boy/girl stories to her sublimating in an ongoing series of interesting boy/boy and transfemale breakthrough features. She marches to the beat of her own drum, and I am fascinated trying to keep up with her, just as I was challenged in the '70s, ultimately seeing all of RWF's prolific work for cinema and TV.