Semmi A ‘Prokopi‘ by Alex Iskan
I evaluated Semmi A’s very first Met Art erotic gallery. While the photographer’s approach to that set struck me as somewhat odd at the time, there was no doubt in my mind that this was a beautiful and talented model. When I had the opportunity to critique a subsequent series I was once again impressed by Semmi, but the gallery had a distinctly strange quality that was distracting, at the very least. Now I have the chance to comment on Semmi A’s debut Met Art HD erotic movie. I can’t help but wonder if it will share the curious qualities of the two sets I’ve seen.
The short answer, thankfully, is “no.” “Prokopi” was directed by Alex Iskan, who also shot the second set I mentioned, above, so I didn’t quite know what to expect. But from the moment it began I had a good feeling about this movie — and that feeling was confirmed throughout the production. Yes, the film does contain one completely inexplicable element, but it is brief, it doesn’t detract from the overall quality, and I will discuss it later in this critique.
With just over ten minutes to work with Alex Iskan doesn’t have time to waste. So, with remarkable skill and economy, he sets up the “story” of “Prokopi” very simply. Semmi A, wearing a matching bra and panties set, stands at a wall of windows and ties back the heavy curtains. The implication is that it’s morning and she’s getting ready to start her day. And this particular day is going to begin with a bit of leisurely auto-erotic pleasure, made even more pleasurable by a subtly implied act of exhibitionism.
As the title of this post suggests, “Prokopi” relies on the artful implication of things that can’t be captured on film or shown on the screen. The act of slowly stripping out of her lingerie is a beautifully lensed act of foreplay. Once she’s nude the sliding, caressing, exploring hands that Semmi sends across her flawless skin, and below her waist, do nothing less than suggest that she’s masturbating. Masturbating and enjoying every minute of it! And realize that she’s doing this on a sofa in front of windows facing out on another building. Who knows how many strangers have a view of her activities? The thought adds an undercurrent of highly charged exhibitionist/voyeuristic energy that gives the film real heat from beginning to end.
Before I run out of space let me make some points quickly and concisely. Semmi A is a physical delight. She moves with natural ease, she plays her role with skill and grace, and when she interacts with the camera (the smile at 2:42, for example) it’s entirely genuine. Alex Iskan’s lighting, art direction, concept, and camerawork are all exemplary — this is a beautiful piece of erotic film making. Oh, but what’s up with that can of whipped cream? I find it totally extraneous and totally unnecessary!
Art Nude Models: Met Art information.
