It is a beautiful spring day as Mistress Tara pulls her ship out of the harbor to set course for Her Personal Island. Then suddenly, she is rudely interrupted by the disturbing news that there is a stowaway on board.

Burning from the core of the feminine divine we unravel.. uncoil.. undulating from where the patriarchy had us firmly wrapped up, silenced, burnt and buried beneath the sand, the earth, the blood soaked desert once lost in a mirage, lost in what we told ourselves as children was a far away dream, or nightmare, depending on how sharply you felt her claws caress you. The beguiling landscape of the Arizona desert forms the backdrop of the film, in which Lilith fights for the rights of marginalized minorities, be it the stereotype of the “wild” woman, the witches who were burned; the sex workers, the queers, POCs, transgender people, people with physical and mental disabilities. Lilith Rising is a tribute to all those we have lost on the way to claiming our rights.

The brooding aura of total sexual abandon is present in every gesture, every slap & caress in this theatre of passion. The flame of the candle that illuminates and torments, reveals the wondrous form of the willing submissive, whose haunting wide eyes and full moist parted lips recall the classic silent screen goddesses Pola Negri, Louise Brooks … but they never dared reveal themselves so totally, so openly to the camera’s eager and demanding gaze.

Clara finds herself naked, at the edge of the woods. The grass tickles her feet, a bramble scratches her skin, the trees whip her passionately. She meets her lover; the forest, her mistress - Nature.

Beautiful and sexy homage to Wiemar Berlin, 26 February 2008 8/10 Author: guitarphil from Warrington, England Maria Beatty presents us once again with her take on the decadence of the Weimar era. A mistress and her slave perform a number of S&M flavoured performances. All of these are exquisitely choreographed with gracefully seductive movement and sometimes erotically vicious acts. Foot fetishism, bondage and Beatty's trademark pearls all make an appearance. The actresses are beautiful and the costume is certainly convincing with regards to the atmosphere of pre-war Berlin. Mostly in Black and White to focus on that 30s erotica vibe with touches of colour to add interesting psychological levels. Homage is paid to Anais Nin and Leopold von Sacher-Masoch and there are some interesting ideas in how to present erotica in general. As is often the case with erotica/pornography directed by women the performances have a relaxed feel that refuses to be rushed. This in itself can be psychologically arousing. A lush and beautiful experience marred only slightly by some depressingly bad music in places (stick with Zorn, some of the stuff here sounds awful and cheap). This left me with the feeling that I had experienced one of the legendary cabaret sex shows of the time. Viva Chris Isherwood.

Since his wife's death, Arthur, a peculiar and severe surgeon, cloisters his teen daughter Lucille inside a strange mansion. Desperate, Lucille tries to commit suicide and ends up with her face completely burned and bandaged. Arthur, with the assistance of his aunt, prepares a weird skin graft in order to give back Lucille a face, a face that resembles his beloved and deceased wife. To take care of her, the father then hires Joan, an attractive nurse with a somber past. Lucille and Joan start a forbidden and passionate love affair.