The Secretary's Nights

Tina Kay is an independent woman who isn’t afraid to embrace her inner slut, but when her naughty nights lead to one-too-many late mornings of oversleeping, she finds herself looking for a new job. Chance finally lands her an interview at a large advertising agency that is on the verge of securing a huge contract, but her opportunity comes with a stunning and awkward revelation; the head of the agency is a gentleman who she offered her panties to during one of her more lurid evening forays. Now, Tina must find a way to navigate her newfound employment under a boss who knows just how slutty she likes to be, while somehow bonding with the other secretaries who have their own sordid secrets. Can Tina maintain her professionalism and help her employer secure the deal of a lifetime, or will her sex-crazed tendencies land her in the unemployment line again?

Frank Vicomte delivers an erotic silent film (dialogue-wise) that should be recognized for the impressive accomplishment it is. A lot of all-sex movies could be considered silent because they often lack dialogue, but the other thing they lack is a narrative of any kind. It’s much harder to tell a cohesive story without words but Vicomte pulls it off with relative ease here. The movie relies primarily on Tina Kay to carry its story and she delivers a knockout performance. She’s so expressive with her face and body and she has a way of moving her head subtly to create emotional connections that the audience can recognize and glom onto. Without speaking a word, Tina is able to take a nameless character and build a simple, yet relatable foundation for her that supports the entire film.

Not to be outdone, Vince Karter gives a comparably adept performance and effectively acts as Tina’s narrative dance partner for the film. Without his smarmy, callous approach to his character, Tina’s secretary would be much less impactful. There’s a subplot between Cherry Kiss and Poppy Pleasure that gets just enough exposition to be meaningful without taking any shine off the main storyline, and Kate Rich sparkles in a naughty supporting role. Frank Vicomte really pulls off a nice little story here that has more depth than one might expect.

There is a lot of great sex in this movie, much of it of the anal variety which should have hardcore fans brimming with joy. After unsuccessfully soliciting Vince Karter in a bar by giving him her panties, an unfazed Tina simply moves on to the next available suitor who happens to be a more than willing Totti. She takes him back to her spacious apartment and lets him have his way with her. There’s a very erotic sequence where the two lovers masturbate each other simultaneously and more directors should take advantage of the intense sensuality this act can illicit. Totti wastes little time getting into Tina’s ass (holy cow he slides into her sphincter like butter) and she relishes the sodomy like a lustful slut. Boy oh boy is it hot!

Cherry Kiss and Poppy Pleasure, two secretaries in the employ of Vince Karter, manage to sneak away for some naughty fun while Vince is interviewing Tina. I love the narrative detail of Poppy noting Vince’s preoccupation with the interview, then slipping away and calling Cherry on the phone to meet her downstairs. These two clearly have a clandestine relationship going already and even though we don’t get to know the particulars of their situation, we get enough to know this is nothing new for them. It allows the sex scene to progress without feeling shoehorned into the movie and that takes a certain skill to pull off effectively. Kudos to Vicomte for doing so. There is a ton of anal play in this scene and the escalation of Cherry fingering Poppy’s ass while licking her pussy to Cherry nearly fisting her, to Poppy spearing Cherry’s ass deep with a dildo is exhilarating. The sexual intensity starts low and grows exponentially as the scene progresses. I was really impressed with how Cherry was able to handle the toy; that was a very long dildo and she took it like a champ.

We get a pretty standard office scene between Kate Rich and Vince Karter where he takes advantage of his authority to fuck one of his beautiful secretaries. Kate is really pretty and she has an erotic sensuality that peels off the screen. The standing side missionary here is gorgeous! Seriously, this is one of the best positions to watch because of the way it elongates the legs while creating the impression that the pussy is getting stuffed to the max. It’s such a sexy position and Kate looks fantastic as she gazes back at a desperately thrusting Vince with pure lust in her eyes.

Kate and Vince are able to convince Tina to join them at their apartment for a raucous three-way that starts with a very relevant callback to the movie’s opening. Whenever a director is able to connect parts of their movie in ways like this, it makes the entire movie stronger, and in a non-dialogue driven film, these types of visual connections are even more important. You won’t want to miss the bird’s-eye view of Kate riding Vince’s cock reverse cowgirl while Tina caresses her from behind as it is a great warmup for the main even of the scene which is total anal domination of Kate by Karter. She bounces his cock in and out of her ass relentlessly as Tina watches in awe (amazing stamina by Kate) and then she mounts Tina in a 69 while Vince plows her asshole like a stallion. The scene concludes with a really fantastic overhead shot that Vicomte deserves a great deal of credit for.

The sex concludes with Tina saving the financial day in the only way she knows how, by fucking her way to the finish line. After an unimpressive business pitch, potential clients Yanick Shaft and Renato are set to leave without a deal being done, but Tina and her holes come to the rescue. She offers herself to both men and they take full advantage of her. The shot of Renato penetrating Tina’s asshole for the first time as she gobbles Yanick’s shaft hungrily is very, very sensual. Tina is open and in her element, and she exudes a sexual liberation that fits her character perfectly. The piston-like DP is the icing on the sexual cake.

This movie is quite impressive in that it needs no dialogue at all to tell its story. Frank Vicomte clearly has an appreciation for the stylized storytelling of the silent films from the 20s and 30s, even though his movie is obviously considerably updated, and his cast does a nice job of bringing the story to life within the restriction of being non-verbal. Tina Kay is sexually impressive (her scene with Totti is particularly nice) while Kate Rich hits a deviant home run every time she’s onscreen.