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Stunning Stella Lane, who makes her first appearance at Metart in “Presenting,” has numerous enticing attributes. Long blonde hair, big blue eyes, a shapely, slender frame, pert breasts capped by nipples of a particularly pale shade of pink, in addition to the extremely appealing item below her beltline. All of these aspects receive ample screen time in this film, with extra — and most welcome — attention to the moist and mouthwatering erogenous zone, but the model’s hands also play a starring role in the production. Those hands, graceful and elegant, remain in nearly constant motion throughout the film, caressing Stella’s smooth skin, cupping and squeezing her breasts, teasing and tugging at her sex, and guiding the viewer’s gaze across every luscious detail on display.
While Stella Lane‘s hands stroke, slide, and glide in perfect harmony with the slightly downcast piano accompaniment, the model remains relatively stationary. She first appears seated on the edge of a bed in a sparsely decorated hotel room. She’s wearing a white lace, long-sleeve body stocking, and she remains “fully clothed” for just under three minutes. After reclining on the bed she eventually removes the garment, crotch first, and after treating us to plentiful views in the prone position she gets on all fours for the final minutes of the film.
This is a beautiful girl, to be sure. And she’s got an intriguing, seductive personality that really shines when she graces the camera with a smile and a glance from those big blue eyes — you’ll find one stirring instance at the 3:43 mark, for example. But director Flora is no shrinking violet, and she gets in close for delightfully extended explicit anatomical close-ups that are truly eye-opening (among other, moist and succulent things, that is). With the help of those restless hands we get to see just how beautiful Stella Lane is — both outside and in. Newcomer Stella Lane is a teasingly, temptingly, torridly tactile treat, and “Presenting” is highly recommended.
Art Nude Models: Met Art information.
