I didn't care much for the set-up. It seemed too contrived. It almost fell into the trap of being ridiculous and laughable. Why do we care about these almost unlike able characters? This movie's strength was Barbara Niven who was good at conveyed emotion very well which helped the viewer connect with character. Rebecca grows as a person from a tight, self-absorbed and materialistic housewife to a carefree, bubbly and caring woman in the end. The relationship that stuck out the most wasn't with Paris but with the dysfunctional family dynamics especially the protectiveness of. daughter, Jessica which was really moving and beautiful. B. It was almost....perfect.
67 Reviews
Don't be fooled by the arty cuts: this is trash, and that's not a bad thing
everygirl1014 December 2017
The reviews for this movie seem to come in two flavours: folk gushing over it, calling it beautiful and brilliantly made and artistic and so on, or people dismissing it as a pretentious and hamfisted attempt at an arty movie that falls short of its ambitions.
I just had to come down in the middle. The film is filled with attempts at art-house style directional and cinematic choices that most certainly tread a fine line on taste and quality, and the plot is - I think unapologetically - pure melodrama.
But that said, it does that melodrama really darn well. The music swells, our heroes bite back their tears and tamp down their emotions until the dam bursts, and you're right there with them when it does. Initially neither protagonist is terribly likable, but then, neither woman is who they're supposed to be, and we get to see them open up as the story is told.
Initially I'd perhaps agree that there's a shortage of romantic chemistry between the two female leads, but then one could argue that since their initial encounters are driven by anxiety, how could there be? It just makes the thaw and the bond that does develop (I'm sure that doesn't count as a spoiler in an obviously romantic movie, does it?) all the more satisfying. The layers of their relationship unfurl over time, and that's the way these things happen sometimes.
And as unreasonably beautiful and perfect the 'call girl' character is in this, the fact she shares the same amount of (or less) exposed flesh on camera with a 59 year old woman is not to be dismissed. This matters. Would that more mainstream, less niche movies could be so brave. And good on Barbara Niven for going for it.
Finally, there's not a dud performance in the piece. This is important when what lets so many lesbian movies down is the acting quality and production values. Both are high here, even for the bit players. The weakest actor is probably the inexperienced Jessica Clark as Paris, whose vocal delivery is a tad one note and initially comes across as a little clichéd, but what she lacks in vocal performance she more than makes up in raw charisma, and she gets across the combination of poise and vulnerability the character needs admirably.
Anyway I dunno, I didn't really mean to go on forever here and I don't generally do reviews. I just popped my head round the door here to see what other folk had thought, and seeing the conflicting trends among the reviewers, I felt the need to buck 'em!
There's too much denigration of straight (lol) down the line romantic melodrama, to my mind, particularly for LGBT folks. Our culture at large tends to devalue and dismiss it as frivolous and trashy and while I don't want to get into a rant about patriarchy or toxic masculinity, well... I'm just sayin', if you need this kind of story in your life, THAT IS OKAY, I'm with you, and you might find what you're looking for here.
I just had to come down in the middle. The film is filled with attempts at art-house style directional and cinematic choices that most certainly tread a fine line on taste and quality, and the plot is - I think unapologetically - pure melodrama.
But that said, it does that melodrama really darn well. The music swells, our heroes bite back their tears and tamp down their emotions until the dam bursts, and you're right there with them when it does. Initially neither protagonist is terribly likable, but then, neither woman is who they're supposed to be, and we get to see them open up as the story is told.
Initially I'd perhaps agree that there's a shortage of romantic chemistry between the two female leads, but then one could argue that since their initial encounters are driven by anxiety, how could there be? It just makes the thaw and the bond that does develop (I'm sure that doesn't count as a spoiler in an obviously romantic movie, does it?) all the more satisfying. The layers of their relationship unfurl over time, and that's the way these things happen sometimes.
And as unreasonably beautiful and perfect the 'call girl' character is in this, the fact she shares the same amount of (or less) exposed flesh on camera with a 59 year old woman is not to be dismissed. This matters. Would that more mainstream, less niche movies could be so brave. And good on Barbara Niven for going for it.
Finally, there's not a dud performance in the piece. This is important when what lets so many lesbian movies down is the acting quality and production values. Both are high here, even for the bit players. The weakest actor is probably the inexperienced Jessica Clark as Paris, whose vocal delivery is a tad one note and initially comes across as a little clichéd, but what she lacks in vocal performance she more than makes up in raw charisma, and she gets across the combination of poise and vulnerability the character needs admirably.
Anyway I dunno, I didn't really mean to go on forever here and I don't generally do reviews. I just popped my head round the door here to see what other folk had thought, and seeing the conflicting trends among the reviewers, I felt the need to buck 'em!
There's too much denigration of straight (lol) down the line romantic melodrama, to my mind, particularly for LGBT folks. Our culture at large tends to devalue and dismiss it as frivolous and trashy and while I don't want to get into a rant about patriarchy or toxic masculinity, well... I'm just sayin', if you need this kind of story in your life, THAT IS OKAY, I'm with you, and you might find what you're looking for here.
An Average Film by a Stylish Filmmaker
atlasmb4 August 2014
This is not a "must see" film. It is also not a "piece of crap". Obviously, this film is somewhat polarizing to produce the disparate reviews it has received here. And just as obviously, some of the people who watched this film have an anti-gay bias that makes one wonder "why the hell were they watching this film?"
There are aspects of the film that I liked. And many I did not. I do not want to be too dismissive of "A Perfect Ending" because I feel the writer/director invested a lot of care in this film and tried to produce a beautiful product.
Many of the things I found off-putting were intentional. For example, the editing that was sometimes choppy. The music that, in places, was designed to create an air of the mysterious and sacred. These are artistic choices that sometimes did not work for me. Often, they took me outside the film, especially since the pace was slow. The pace itself could have been brisker in parts.
Also, Jessica Clark (who plays the escort Paris) spoke with such a slow, deliberate pace it was distracting. It reminds me of Nichole Kidman in "Eyes Wide Shut", but Ms. Kidman's character was under the influence when she spoke that way.
Lastly, I found the sexual politics of the film annoying. Often they are inserted where it does not serve the story.
All in all, this is an average film by a filmmaker who could probably produce a much better product.
There are aspects of the film that I liked. And many I did not. I do not want to be too dismissive of "A Perfect Ending" because I feel the writer/director invested a lot of care in this film and tried to produce a beautiful product.
Many of the things I found off-putting were intentional. For example, the editing that was sometimes choppy. The music that, in places, was designed to create an air of the mysterious and sacred. These are artistic choices that sometimes did not work for me. Often, they took me outside the film, especially since the pace was slow. The pace itself could have been brisker in parts.
Also, Jessica Clark (who plays the escort Paris) spoke with such a slow, deliberate pace it was distracting. It reminds me of Nichole Kidman in "Eyes Wide Shut", but Ms. Kidman's character was under the influence when she spoke that way.
Lastly, I found the sexual politics of the film annoying. Often they are inserted where it does not serve the story.
All in all, this is an average film by a filmmaker who could probably produce a much better product.
Barbara Niven and Jessica Clark make it A Perfect Ending
elaine-sturgess2 July 2012
Imagine you had a less than perfect sex life (go on, try)
in fact imagine you were living a life that felt completely devoid of passion. Now imagine you had some concerned friends who wanted to find a way to help – and did so by setting you up with a totally gorgeous, sexy, intelligent, young
hooker.
What feelings might it provoke in you? Fear, horror, excitement, anxiety, shame, desire would it give you a buzz – and would you go through with it? It's an extraordinary and intriguing question.. and it's the central theme in the new movie from writer and Director Nicole Conn. Has that piqued your interest .? It certainly did mine and I can guarantee when you watch, it's a question that's going to get you all worked up.
Rebecca is a middle aged, wealthy, but utterly repressed and depressed housewife (played outstandingly by actress Barbara Niven), who is dedicated to her coldly bombastic husband (the excellent John Heard) and her three now grown children. And she has a secret. Or maybe more than one. During a frank discussion with two close friends, she reveals something that they are horrified to hear about her sex life – and they are determined to help her resolve. They perceive that Rebecca's dilemma may be as a result of her straight and straightened relationship with her husband, so they decide to engage the personal services of a high class prostitute, reasoning that another female "is so much more familiar with the manual" and will be able to offer her some release...
Filled with trepidation but at the same time compelled, Rebecca agrees and turns up at the appointed time in a luxury hotel room to meet her date. And so we are introduced to the delectable and sultry Paris (played superbly by British actress and model Jessica Clark in her first feature) who knocks on the door at the appointed time to meet her new customer. But though Paris would seem to have the looks and charm to melt even the frostiest of "clients", she hasn't reckoned with the more than just tight lipped, Rebecca.
As the two dance around each other, their stories are revealed, told with humour and pathos, with honesty and compassion. A Perfect Ending is multi-layered and addresses significant and pervasive issues that seriously affect the lives of millions of women – it manages to be both hugely entertaining and thought provoking at the same time. And it's HOT. The leads have fantastic chemistry and the sex scenes, which are intimately revealing, require a level of brave vulnerability that most of us could never even consider, but which are an essential element in showcasing the beauty of imperfection, the poignant antithesis of the movie's title.
Aside from the magnificently elegant performances of Niven and Clark, there are also some superb cameo roles, particularly from Morgan Fairchild as the tough and edgily funny Madam – with a peculiar obsession with Barbie dolls (the ones formed in plastic ) that she dresses up to resemble the characters of her "girls". Oh and the older, hardened hooker played with such wonderfully bitter but proud sarcasm by Rebecca Staab, who can't resist biting back when Rebecca rejects her with a judgemental driven tongue lashing and then there's the funny, funny, funny British actress Mary Wells, who plays one of Rebecca's lesbian friends (we should all have one) with the Hollywood Madam in her contact list.
It's a story of many twists and turns that will surprise you as the plot unfolds – and it so cleverly explores, both metaphorically and in starkly frank big screen physical presence, the issues that so unnecessarily blight our lives and often prevent us from fulfilling our potential and finding the pleasure that all of us deserve. I was privileged to watch the world premier of this movie at the Castro Theatre in San Francisco along with an audience of over 1400 whose appreciation was loudly and enthusiastically expressed throughout the film. If their – and my – reaction is anything to go by, it will make you laugh out loud, it might make you weep – and it will almost certainly make you think about it well after the movie itself has perfectly ended.
You can catch it at a number of festivals across the States, including LA, Philadelphia, Tampa and Atlantic City in the next month, for more details of which, please visit the Soul Kiss Films website or check out their face-book page. You can also check out the Wolfe website and book mark it for news of the DVD release dates.
You really should do so, I couldn't recommend it more highly.
What feelings might it provoke in you? Fear, horror, excitement, anxiety, shame, desire would it give you a buzz – and would you go through with it? It's an extraordinary and intriguing question.. and it's the central theme in the new movie from writer and Director Nicole Conn. Has that piqued your interest .? It certainly did mine and I can guarantee when you watch, it's a question that's going to get you all worked up.
Rebecca is a middle aged, wealthy, but utterly repressed and depressed housewife (played outstandingly by actress Barbara Niven), who is dedicated to her coldly bombastic husband (the excellent John Heard) and her three now grown children. And she has a secret. Or maybe more than one. During a frank discussion with two close friends, she reveals something that they are horrified to hear about her sex life – and they are determined to help her resolve. They perceive that Rebecca's dilemma may be as a result of her straight and straightened relationship with her husband, so they decide to engage the personal services of a high class prostitute, reasoning that another female "is so much more familiar with the manual" and will be able to offer her some release...
Filled with trepidation but at the same time compelled, Rebecca agrees and turns up at the appointed time in a luxury hotel room to meet her date. And so we are introduced to the delectable and sultry Paris (played superbly by British actress and model Jessica Clark in her first feature) who knocks on the door at the appointed time to meet her new customer. But though Paris would seem to have the looks and charm to melt even the frostiest of "clients", she hasn't reckoned with the more than just tight lipped, Rebecca.
As the two dance around each other, their stories are revealed, told with humour and pathos, with honesty and compassion. A Perfect Ending is multi-layered and addresses significant and pervasive issues that seriously affect the lives of millions of women – it manages to be both hugely entertaining and thought provoking at the same time. And it's HOT. The leads have fantastic chemistry and the sex scenes, which are intimately revealing, require a level of brave vulnerability that most of us could never even consider, but which are an essential element in showcasing the beauty of imperfection, the poignant antithesis of the movie's title.
Aside from the magnificently elegant performances of Niven and Clark, there are also some superb cameo roles, particularly from Morgan Fairchild as the tough and edgily funny Madam – with a peculiar obsession with Barbie dolls (the ones formed in plastic ) that she dresses up to resemble the characters of her "girls". Oh and the older, hardened hooker played with such wonderfully bitter but proud sarcasm by Rebecca Staab, who can't resist biting back when Rebecca rejects her with a judgemental driven tongue lashing and then there's the funny, funny, funny British actress Mary Wells, who plays one of Rebecca's lesbian friends (we should all have one) with the Hollywood Madam in her contact list.
It's a story of many twists and turns that will surprise you as the plot unfolds – and it so cleverly explores, both metaphorically and in starkly frank big screen physical presence, the issues that so unnecessarily blight our lives and often prevent us from fulfilling our potential and finding the pleasure that all of us deserve. I was privileged to watch the world premier of this movie at the Castro Theatre in San Francisco along with an audience of over 1400 whose appreciation was loudly and enthusiastically expressed throughout the film. If their – and my – reaction is anything to go by, it will make you laugh out loud, it might make you weep – and it will almost certainly make you think about it well after the movie itself has perfectly ended.
You can catch it at a number of festivals across the States, including LA, Philadelphia, Tampa and Atlantic City in the next month, for more details of which, please visit the Soul Kiss Films website or check out their face-book page. You can also check out the Wolfe website and book mark it for news of the DVD release dates.
You really should do so, I couldn't recommend it more highly.
Kudos for the courage to take that theme, nice acting scenes, a heavy-load of dramatic music
riefenstein00123 May 2018
Warning: Spoilers
Interesting setup of the story. Good photography, actors are all doing their job, fine. Fine tuning of moments, good observation, though sometimes overtold, resting too much in moments, slowing down, while audience understood already. It is somewhat courageous, I guess, to take on that theme that easily could drift into a different sort of film. Kudos for that. The story of the stock shares/financial heritage problems, plus the dramatic health problem of the lead character is unnecessary in my opinion. The storyteller could have trusted in the "coming of age" of a middle aged woman in a bourgeois environment (stepford wife) , but okay, they went for drama. One thing that is just very distracting, if not disturbing, is the overlaying music which gives it a touch of a , well, Hallmark movie. (maybe it was intended , then nobody wanted anything different, please excuse the remark). A very big compliment to filmmaker for the taste of the scenery and even more to the talent to open up so much for a very touching and realistic love making scene. Thanks for sharing these moments Barbara Niven.
A Pretentious Film School Take On "Manic Pixie Dream Girls"
mikeklapak29 December 2014
This is just one of the most irritatingly pretentious movies I've ever seen. If you're an upper-class white person with no real problems and you can only relate to human sexuality, though, maybe this movie will appeal to you.
Barbara Niven plays a rich white woman who is sexually repressed and stuck in an unhappy second marriage with a cartoonishly evil business owner. Her one trait is that she's uptight and her husband's one trait is that he's evil. No one in this movie gets to have more than one trait.
She confesses to her friends - two happily-married women - that she's never had an orgasm. They recommend an all- female brothel for her to contact so that she can finally know what it means to enjoy herself in bed. She ends up with Paris, played by Jessica Park, who is admittedly gorgeous but is once again limited to one trait - in this case, being sexy. For the entirety of the film she speaks slowly and in a low whisper.
Her character is key to some of the film's most desperate attempts to be artsy. We get shots of her in a fetal position on a white void because the movie wants to show that she's damaged and has personal trauma. Rather than letting this come out through Clark's performance it's shoved down the audience's throat with this obnoxious imagery repeatedly, with different degrees of blatant symbolism each time. We also get embarrassing soap opera-like flashbacks to Paris' memories of her old lover, done with soft-focused and slowed footage to make them extra-hard to watch. We don't get a sense of their relationship, really; we're just being told that it was good because look, they're smiling! They're laughing! Everything's fuzzy and slow-motion so it's gotta be nice, right?
The embarrassing film school stuff is just par for the course in this movie, though. There's jump cuts all throughout the movie and they feel almost random. It's like the director saw one of Jean-Luc Goddard's movies and figured that good, artsy movies MUST have jump cuts because his films had them. They really make parts of this movie hard to watch because it just feels like the editing's a mess.
And of course there's all of the melodrama. Everything important in this movie is underscored with horrible, generic piano and string synths telling you what you're supposed to be feeling. It gets really silly when one character orgasms and there's synth flutes and choir voices hitting high notes to hammer the point home. It's just another part of the movie that feels really forced and cartoonish. It makes the sex scenes embarrassing to watch.
The romantic chemistry between Niven and Clark is non-existent but we're told at one point that they might be falling in love. 90% of their on-screen interactions are purely sexual and yet with nearly zero character development we're supposed to find their relationship meaningful. We don't really get the chance to see these two characters outside of the bedroom and when they talk, it's just endless streams of clichés about how much they enjoy each other. It feels painfully shallow. Clark's character is sexy and she's shown to have artistic talent throughout the film but she doesn't get to have a personality outside of her sexuality. We don't get a sense of what her art means to her - it's just there to make her a more attractive character. Of course, though, the film sees Niven's life changed by her relationship with Clark.
The "manic pixie dream girl" is a trope in films where one bubbly, exciting girl enters a protagonist's life and solves the protagonist's problems by being such a likable, attractive person. "A Perfect Ending" merely takes that cliché and applies it to the life of a rich white woman rather than a man. It says that everything wrong with your life can be solved by a hot, sexually-available woman. But the worst thing about it is that it has the audacity to pretend that it's something more, with all of its terrible film student editing and pretentious imagery.
There's much better films out there about bisexual and lesbian relationships. Blue Is The Warmest Color is a much better portrayal of a woman's sexual awakening with another woman and it's made by someone with a far superior grasp of film making. Watch that instead of this trite soap opera.
Barbara Niven plays a rich white woman who is sexually repressed and stuck in an unhappy second marriage with a cartoonishly evil business owner. Her one trait is that she's uptight and her husband's one trait is that he's evil. No one in this movie gets to have more than one trait.
She confesses to her friends - two happily-married women - that she's never had an orgasm. They recommend an all- female brothel for her to contact so that she can finally know what it means to enjoy herself in bed. She ends up with Paris, played by Jessica Park, who is admittedly gorgeous but is once again limited to one trait - in this case, being sexy. For the entirety of the film she speaks slowly and in a low whisper.
Her character is key to some of the film's most desperate attempts to be artsy. We get shots of her in a fetal position on a white void because the movie wants to show that she's damaged and has personal trauma. Rather than letting this come out through Clark's performance it's shoved down the audience's throat with this obnoxious imagery repeatedly, with different degrees of blatant symbolism each time. We also get embarrassing soap opera-like flashbacks to Paris' memories of her old lover, done with soft-focused and slowed footage to make them extra-hard to watch. We don't get a sense of their relationship, really; we're just being told that it was good because look, they're smiling! They're laughing! Everything's fuzzy and slow-motion so it's gotta be nice, right?
The embarrassing film school stuff is just par for the course in this movie, though. There's jump cuts all throughout the movie and they feel almost random. It's like the director saw one of Jean-Luc Goddard's movies and figured that good, artsy movies MUST have jump cuts because his films had them. They really make parts of this movie hard to watch because it just feels like the editing's a mess.
And of course there's all of the melodrama. Everything important in this movie is underscored with horrible, generic piano and string synths telling you what you're supposed to be feeling. It gets really silly when one character orgasms and there's synth flutes and choir voices hitting high notes to hammer the point home. It's just another part of the movie that feels really forced and cartoonish. It makes the sex scenes embarrassing to watch.
The romantic chemistry between Niven and Clark is non-existent but we're told at one point that they might be falling in love. 90% of their on-screen interactions are purely sexual and yet with nearly zero character development we're supposed to find their relationship meaningful. We don't really get the chance to see these two characters outside of the bedroom and when they talk, it's just endless streams of clichés about how much they enjoy each other. It feels painfully shallow. Clark's character is sexy and she's shown to have artistic talent throughout the film but she doesn't get to have a personality outside of her sexuality. We don't get a sense of what her art means to her - it's just there to make her a more attractive character. Of course, though, the film sees Niven's life changed by her relationship with Clark.
The "manic pixie dream girl" is a trope in films where one bubbly, exciting girl enters a protagonist's life and solves the protagonist's problems by being such a likable, attractive person. "A Perfect Ending" merely takes that cliché and applies it to the life of a rich white woman rather than a man. It says that everything wrong with your life can be solved by a hot, sexually-available woman. But the worst thing about it is that it has the audacity to pretend that it's something more, with all of its terrible film student editing and pretentious imagery.
There's much better films out there about bisexual and lesbian relationships. Blue Is The Warmest Color is a much better portrayal of a woman's sexual awakening with another woman and it's made by someone with a far superior grasp of film making. Watch that instead of this trite soap opera.
Soap opera, rated R; nicely done for the budget.
suite9220 December 2013
Warning: Spoilers
Rebecca is in a marriage where she has never had a climax, and she and her husband Mason have sex twice a year, whether they want to or not. Mason is a bit of a shifty dealer, and he signs over certain company segments to Rebecca to avoid litigation and perhaps criminal charges. He's very controlling with her and keeps her in the dark as much as possible.
Theme 1: Rebecca's lesbian friends try to get her to enjoy herself more with another woman, perhaps through Valentina, who runs a service for that. This starts slowly with Paris, since Rebecca is skittish about it, but picks up speed later.
Theme 2: Rebecca decides to use Mason's overconfidence to take control of most of his companies. The documents he urged her to sign earlier are a great help in this. Further into the film, we find out that Rebecca has terminal cancer. She will have a lot of decisions to make.
Theme 3.: Rebecca's first lesbian lover, Paris, is going through emotional turmoil herself over the loss of a loved one. Some time ago, she had a minor laughing spat with her husband. She playfully pushed him away, into the path of a car that killed him.
Theme 4: Rebecca's daughter from a first marriage feels left out, plus Mason abused her sexually a few years back. One Mason and Rebecca's two sons is to be married into even more money, but his prospective wife is a bit of an odd duck.
Will Rebecca and Mason handle the full transfer of power before she is gone? Will Rebecca figure out her sexual identity? Will Paris get over the exact way that her husband died? Will the next generation get their acts together? -------Scores--------
Cinematography: 7/10 There were too many closeups of mundane objects coupled with rack focus. The shots of Paris emoting were atmospheric, but more often boring than not. The regular footage was very well done.
Sound: 8/10 Mostly OK, but dips too low sometimes.
Acting: 5/10 Lots of variation: John Heard was quite convincing; Barbara Niven almost convincing; the actors who play the grown up children were rather bad, as were the actors who played the lesbian friends.
Screenplay: 5/10 The story lines made sense eventually, but the whole thing was rather ponderous. Oh, well, soap opera traditions.
Theme 1: Rebecca's lesbian friends try to get her to enjoy herself more with another woman, perhaps through Valentina, who runs a service for that. This starts slowly with Paris, since Rebecca is skittish about it, but picks up speed later.
Theme 2: Rebecca decides to use Mason's overconfidence to take control of most of his companies. The documents he urged her to sign earlier are a great help in this. Further into the film, we find out that Rebecca has terminal cancer. She will have a lot of decisions to make.
Theme 3.: Rebecca's first lesbian lover, Paris, is going through emotional turmoil herself over the loss of a loved one. Some time ago, she had a minor laughing spat with her husband. She playfully pushed him away, into the path of a car that killed him.
Theme 4: Rebecca's daughter from a first marriage feels left out, plus Mason abused her sexually a few years back. One Mason and Rebecca's two sons is to be married into even more money, but his prospective wife is a bit of an odd duck.
Will Rebecca and Mason handle the full transfer of power before she is gone? Will Rebecca figure out her sexual identity? Will Paris get over the exact way that her husband died? Will the next generation get their acts together? -------Scores--------
Cinematography: 7/10 There were too many closeups of mundane objects coupled with rack focus. The shots of Paris emoting were atmospheric, but more often boring than not. The regular footage was very well done.
Sound: 8/10 Mostly OK, but dips too low sometimes.
Acting: 5/10 Lots of variation: John Heard was quite convincing; Barbara Niven almost convincing; the actors who play the grown up children were rather bad, as were the actors who played the lesbian friends.
Screenplay: 5/10 The story lines made sense eventually, but the whole thing was rather ponderous. Oh, well, soap opera traditions.
Genuinely shocked by the 10/10 reviews on here.
esheehan-204899 March 2019
Warning: Spoilers
The film centres around the main character being an unhappy, unsatisfied house wife, from a conservative wealthy family whose never had an orgasm. So she with the help of her liberal flock of lesbian friends goes on a quest to achieve an orgasm with a call girl. In between the "will she" "wont she" drama, there is a plethora of underdeveloped and poorly executed subplots. The evil bully husband who raped the daughter, one son marrying a girl he doesnt really love but is well matched so goes along with it, the family business being signed over to the wife for some reason, despite the fact shes dying of cancer....these topics could really add much needed depth to the overall storyline. However they are brushed over in a serious of awkward jump cuts, peppered with tedious arty imagery thrown in to make this whole thing appear deep and cinematic.
If you like awkward soft core porn set to piano music and cuts away to sad women in fetal positions, or dots drawn on paper then this is the movie for you.
A Perfect Ending Offers a Thoughtful Beginning
cathy-1367 August 2012
Generally when I go to see films at a festival my expectations are set pretty low. Most are fair to middlin' and many just don't cut the mustard. Occasionally, however, I catch a film that not only captures my mind while I'm watching it but that lives on and continues to unfold in my mind for days after. Such was my experience with A Perfect Ending. For starters, while I first saw the film during the Frameline (LGBT) festival in San Francisco, it became abundantly clear not long into the film that the fact the love story element was between two women was incidental to the bigger picture themes of identity, self-awareness, and the ever-important journey to discover and embrace true passion in life.
At first blush, A Perfect Ending is the story of Rebecca (Barbara Niven) a woman living in a loveless marriage, dissatisfied with her life and holding a deep secret that not even her closest friends know. She reveals this secret and the deep questions that it carries to her friends who then suggest a rather unorthodox path to finding answers - a high priced call girl named Paris (Jessica Clark).
It's a Nicole Conn film, so you know there's a love story. I saw it at an LGBT festival so I knew there was a lesbian angle. What I found with A Perfect Ending was a story that had so much more depth and breadth that I left the theater thinking ... a lot.
Nicole Conn masterfully weaves this complex story, delicately dipping into an array of subplots and parallel story lines. That she weaves a complex story is one thing, that she does so leveraging some unique and rather fascinating storytelling mechanisms makes the film that much more interesting to me.
Beyond the graceful storytelling structure there are the superb performances from a very talented cast.
Several great character turns give wonderful flavor to the story. Cathy DeBuono delivers an amusingly intense performance; Mary Wells' comedic timing and perfectly timed expressions bring laughter at several key moments and then there's the superb Morgan Fairchild whose very appearance on the screen resulted in applause. John Heard delivers a great performance as the detached, boozy husband with a dark secret of his own.
Finally there are the two magnificent lead actresses. Newcomer Jessica Clark, has thus far in her career mostly been a model. You can be sure that this will change - fast. The character of Paris that she delivers has such nuance, such grace, such power and such intensity it's hard to believe that this stunning young woman had never before done a full-length feature film.
Barbara Niven is someone you have, no doubt, seen act before. You have never seen her like this. To watch the evolution of Niven's character of Rebecca is to see a woman become completely dismantled. From her clothing and hairstyle to the way she walks and even holds her facial expressions - at the outset Rebecca is wound so tightly that one might expect she would snap at any time. Instead, we see her soften, unravel and blossom into a magnificent, luminous and powerful woman.
Any woman should see this film and then ask herself - have you found your passion? Are you living a life you feel worth living and if not, why?
At first blush, A Perfect Ending is the story of Rebecca (Barbara Niven) a woman living in a loveless marriage, dissatisfied with her life and holding a deep secret that not even her closest friends know. She reveals this secret and the deep questions that it carries to her friends who then suggest a rather unorthodox path to finding answers - a high priced call girl named Paris (Jessica Clark).
It's a Nicole Conn film, so you know there's a love story. I saw it at an LGBT festival so I knew there was a lesbian angle. What I found with A Perfect Ending was a story that had so much more depth and breadth that I left the theater thinking ... a lot.
Nicole Conn masterfully weaves this complex story, delicately dipping into an array of subplots and parallel story lines. That she weaves a complex story is one thing, that she does so leveraging some unique and rather fascinating storytelling mechanisms makes the film that much more interesting to me.
Beyond the graceful storytelling structure there are the superb performances from a very talented cast.
Several great character turns give wonderful flavor to the story. Cathy DeBuono delivers an amusingly intense performance; Mary Wells' comedic timing and perfectly timed expressions bring laughter at several key moments and then there's the superb Morgan Fairchild whose very appearance on the screen resulted in applause. John Heard delivers a great performance as the detached, boozy husband with a dark secret of his own.
Finally there are the two magnificent lead actresses. Newcomer Jessica Clark, has thus far in her career mostly been a model. You can be sure that this will change - fast. The character of Paris that she delivers has such nuance, such grace, such power and such intensity it's hard to believe that this stunning young woman had never before done a full-length feature film.
Barbara Niven is someone you have, no doubt, seen act before. You have never seen her like this. To watch the evolution of Niven's character of Rebecca is to see a woman become completely dismantled. From her clothing and hairstyle to the way she walks and even holds her facial expressions - at the outset Rebecca is wound so tightly that one might expect she would snap at any time. Instead, we see her soften, unravel and blossom into a magnificent, luminous and powerful woman.
Any woman should see this film and then ask herself - have you found your passion? Are you living a life you feel worth living and if not, why?
... better than many are making it out to be
bjarias5 May 2022
... it's an unusually well done film... a bit overly melodramatic at points, but well acted & produced... when stories are not mainstream, they have a great tendency to be dismissed outright... that would be a mistake with this movie... the leads are very good, and the time spent watching passes easily.
Good Premise, but I was disappointed
bransan2225 January 2013
I anxiously awaited this movie's release on DVD as those who had seen it at Sundance gave it such good to great reviews. Unfortunately, however, after having seen it for myself now, I do not share the earlier reviewers' glowing opinions. The premise of the movie is really good and I could tell it could have been a very good movie. I felt it took too many "meetings" before the main character stopped running out and the awkwardness to fade. Both main actresses are attractive and are suited to their characters, but the escort seemed to be trying too hard to be mysterious and alluring. First,her lower voice and slow speaking cadence was sexy and intriguing, but then you notice she speaks that way through the entire movie. It rendered the "sexy" a little "unsexy" and kind of annoying after a while. You don't see enough of the two women together to understand the 'relationship' that supposedly develops between them. I was left feeling like too much of the story must have been left on the editing room floor and was replaced by the film-maker's attempt at artsy and meaningful up-close vignettes of inanimate objects or a characters struggles. I am disappointed in this movie. I had such high hopes.
A film for the soul
amuise0012 October 2012
First off let me start by saying that I am not a writer, so please forgive my poor attempt at a review. As I patiently sat waiting for the screening of A Perfect Ending, I thought to myself, this is going to be a great movie. I did not expect to see a movie that would awaken all of my emotions and touch my soul. Nicole Conn takes you on an emotional journey that makes you laugh, cry and want to jump up applaud and scream YES!!!! Barbara Niven and Jessica Clark were perfectly cast for this movie. Their chemistry on camera is off the charts, blond and beautiful and dark and exotic. Nicole Conn and Marina Rice-Bader hit the nail on the head when they picked these two women for their lead roles. This film is a must see for both women and men, so if you have a chance to see it at a festival near you please attend and let your soul be nourished.
Good start, has intensity, good storyline, turns gynocentrism and misandric.
daleth-7430917 October 2015
I sympathize with the main character, her husband is a terrible man and lover. However this movie has typical feminist moments and serious man hating. I have noticed in some if not most feminist films, the horrible husband is always the same. A privileged woman, who does not work and understand the stress of being a constant provider. Of course he is also a typical child predator as he assaults his daughter. Its like they portray every man as a sexually mature 5 year old that just does not get female sexuality. The sons are emasculated and the one good man , Paris's ex husband is very effeminate. Why can't lesbians just make a movie about there love and erotica, with out saying men are all inferior lovers and there the true gatekeepers of love and intimacy. Besides that though there are many good points to the movie I wish they would have emphasized on. I do like the tension as the main character finally tells her best friends her deepest secret. I do like the build up of the conflict she has, where she wants to have sex with Paris intensly but is torn up in contradiction. Though the drama is overdone and a bit sappy to the point of frustration and comedy. It took her 3- 4 times to finally have sex with Paris and when they did it was great, really erotic and hot and displaying all that repressed emotion. I think I would give this movie a 6, but take away 4 for all the man hating stereotypes. Otherwise I would have given this movie a 9 or 10. Come on lets do better and stop making so many man hating movies.
Profoundly bad
flowrpwr12 October 2019
Warning: Spoilers
No one should watch this movie. Ever. I was expecting a fun, sexy movie. Instead we get incest flashbacks.
The protagonist apologizes for not being there for her daughter. Several minutes later we learn that her husband attempted to or successfully raped their daughter.
The couple is still married, and the daughter still lives at or spends a lot of time at the house.
Not sure I've ever seen a worse movie. A new level of awful. I'm a little concerned for anyone who enjoyed it.
The protagonist apologizes for not being there for her daughter. Several minutes later we learn that her husband attempted to or successfully raped their daughter.
The couple is still married, and the daughter still lives at or spends a lot of time at the house.
Not sure I've ever seen a worse movie. A new level of awful. I'm a little concerned for anyone who enjoyed it.
Disappointing
retrodyne13 February 2013
Warning: Spoilers
I will be completely honest - I'm a guy and I watched this film in the hopes of being titillated.
But once I realized it clearly wasn't that kind of film I kept going in the hopes of a solid drama. Unfortunately it was far from it.
THE GOOD This film did make me look beyond my stereotypical lipstick lesbian fantasies and have some insight into the everyday life of gay women. This was mainly through the social scenes with groups of characters discussing their own lives and activities.
The basic premise and the characters themselves were easy to grasp.
THE NOT SO GOOD. It didn't really offer any insight into whether or not gay women face similar challenges or prejudices in life to gay men.
There are some glaring inconsistencies in the plot. The main one being: how did such a strait-laced, inhibited and unhappy main character come to have a circle of younger friends who seem to be openly gay, deeply in love and very chilled out.
I guess it's fair enough to include a dislike of men in a lesbian film if you make one, but I wasn't aware that a general disregard for men was part of being a lesbian. There's not a good guy in the whole film. Rebecca's husband is cartoonishly evil in his treatment of his wife and daughter. Her sons are weak-willed lackeys. Paris' lost love is annoyingly upbeat, vacant and sets off a major gaydar alert. Other men are users of prostitutes. All in all it changes the tone of the film from pro-women to anti-men.
Uneven storytelling. Rebecca's 'will she, won't she' vacillating over meeting a female prostitute is drawn out to a ridiculous degree. The surreal scenes where Paris goes away inside her head don't fit with the rest of the film. The scenes with the brassy madam of the escort agency don't seem necessary at all. etc. etc.
Lack of chemistry Rebecca is so tense, unhappy and painful to be around that it sets your teeth on edge. Paris is so drugged up on loss that she seems to be sleep walking through life. Opposites attract, but in this case the characters and the way they are portrayed create a chasm that plausibility can't cross. It also leads to a total lack of passion. I never thought I would be capable of watching with complete disinterest as two beautiful and naked people (women or not) made love. But that's what happened.
In conclusion, I'm stunned at the high scores some people have given here. I can only conclude they must have been involved in the production, because on any objective level this is not a good, or entertaining film.
But once I realized it clearly wasn't that kind of film I kept going in the hopes of a solid drama. Unfortunately it was far from it.
THE GOOD This film did make me look beyond my stereotypical lipstick lesbian fantasies and have some insight into the everyday life of gay women. This was mainly through the social scenes with groups of characters discussing their own lives and activities.
The basic premise and the characters themselves were easy to grasp.
THE NOT SO GOOD. It didn't really offer any insight into whether or not gay women face similar challenges or prejudices in life to gay men.
There are some glaring inconsistencies in the plot. The main one being: how did such a strait-laced, inhibited and unhappy main character come to have a circle of younger friends who seem to be openly gay, deeply in love and very chilled out.
I guess it's fair enough to include a dislike of men in a lesbian film if you make one, but I wasn't aware that a general disregard for men was part of being a lesbian. There's not a good guy in the whole film. Rebecca's husband is cartoonishly evil in his treatment of his wife and daughter. Her sons are weak-willed lackeys. Paris' lost love is annoyingly upbeat, vacant and sets off a major gaydar alert. Other men are users of prostitutes. All in all it changes the tone of the film from pro-women to anti-men.
Uneven storytelling. Rebecca's 'will she, won't she' vacillating over meeting a female prostitute is drawn out to a ridiculous degree. The surreal scenes where Paris goes away inside her head don't fit with the rest of the film. The scenes with the brassy madam of the escort agency don't seem necessary at all. etc. etc.
Lack of chemistry Rebecca is so tense, unhappy and painful to be around that it sets your teeth on edge. Paris is so drugged up on loss that she seems to be sleep walking through life. Opposites attract, but in this case the characters and the way they are portrayed create a chasm that plausibility can't cross. It also leads to a total lack of passion. I never thought I would be capable of watching with complete disinterest as two beautiful and naked people (women or not) made love. But that's what happened.
In conclusion, I'm stunned at the high scores some people have given here. I can only conclude they must have been involved in the production, because on any objective level this is not a good, or entertaining film.
The set up was almost like something that actually happened
jordondave-2808521 May 2023
(2012) A Perfect Ending
DRAMA
Edited, written and directed by Nicole Conn that has socialite mid wife, Rebecca Westridge or White (Barbara Niven) of two sons and a daughter becoming unhappy with her husband, Mason (John Heard) after a dysfunctional incident. Because Rebecca's closest friends happen to be lesbian, she then allows one of them to set her up with a female escort service since her cousin, Valentina (Morgan Fairchild) happens to own her own escort agency called "Better to Serve You". And because Rebecca is middle age, she also requested her to send someone who is middle age just like her too. So Valentina sends a middle age lady named Cynthia (Rebecca Staab), except that she had another engagement, so she passes the service to a 29 year old named Paris Scholfield (Jessica Clark) instead to take her place. And at first, Rebecca is reluctant as she is not approximately the same age as she is. But as a result Rebecca not entirely liking Cynthia's persona, she eventually succumbs to liking Paris. With more revelations occur of the two women regarding the lives of both Rebecca and Paris.
It would be nice to see a resolve between the dysfunctional relationship between Jessica (Kerry Knuppe) and the father she had ever known Mason.
Edited, written and directed by Nicole Conn that has socialite mid wife, Rebecca Westridge or White (Barbara Niven) of two sons and a daughter becoming unhappy with her husband, Mason (John Heard) after a dysfunctional incident. Because Rebecca's closest friends happen to be lesbian, she then allows one of them to set her up with a female escort service since her cousin, Valentina (Morgan Fairchild) happens to own her own escort agency called "Better to Serve You". And because Rebecca is middle age, she also requested her to send someone who is middle age just like her too. So Valentina sends a middle age lady named Cynthia (Rebecca Staab), except that she had another engagement, so she passes the service to a 29 year old named Paris Scholfield (Jessica Clark) instead to take her place. And at first, Rebecca is reluctant as she is not approximately the same age as she is. But as a result Rebecca not entirely liking Cynthia's persona, she eventually succumbs to liking Paris. With more revelations occur of the two women regarding the lives of both Rebecca and Paris.
It would be nice to see a resolve between the dysfunctional relationship between Jessica (Kerry Knuppe) and the father she had ever known Mason.
I wanted to like this movie ...
pistachiata7 September 2020
Maybe I just saw a bad copy, but the sound on this was horrible. The speech was garbly and the music overwhelmed what I could hear coming out of the mouths of the characters. Certain things I could understand only in hindsight, and I was guessing at some of what seemed to happen. And the story moved too slowly. Speeding things up would have helped.
The biggest thing would have been to quiet down or eliminate the sound track.
Disappointed
rochellepaul-649631 October 2023
Don't know why Ms. Niven did this type of movie. She is a beautiful actress and I was disappointed to see her in this. I am not against this type of a relationship but just don't feel she needed to do one in this genre. I've enjoyed her in Chesapeake Shores and other movies. I understand that when one reaches a certain age, their demand in a movie part may be hard to get but don't think she is financially challenged so why one like this? Was she proving a point, I wonder ? Gee. What more can I say to make the required characters for this rating? I will certainly continue to watch her in other upcoming features. Just hopefully in a different category. 😛 oh well. I've said my piece and hope that I have now met the requirement.
Deep? Like, OMG, If you own a small stupid dog, and live in the Valley.
azcoppen15 November 2014
Warning: Spoilers
Just like the protagonist, watching this film for me was an act of experimentation in a genre i'm not particularly familiar with (LGBT). The reviews describe it as a stunning masterpiece of cinema, but i felt compelled to comment simply to redress the balance.
TL;DR: this is a sales pitch for the lesbian lifestyle - targeted at the US middle class - attempting to masquerade as a "deep" film.
The pretentiousness and disingenuousness are what stand out the most, but simply the most frustrating point of the whole two hours is that it's misses an incredible opportunity to examine the powerful and interesting issues it so nearly touches on: female sexual dysfunction, the moral ambiguity of prostitution, the awkward navigation of sexual fantasy, the family dynamics of terminal diagnosis, and more. It scrapes the 0.1% sludge off a barrel ten miles deep.
This is what it *could* have been, if it weren't such a blatant and craven agenda-driven Trojan horse. It doesn't touch on any of these.
The message: being a lesbian is awesome, and you should try it if you're a middle class white housewife. It's the solution of all of a woman's problems, and the only route to true and safe sexual experience, which will ultimately heal you from your emotional repression (see the name of the film). Fulfilling your sexual fantasies is a way to cope with your cancer diagnosis, whilst being surrounded by all the terribly abusive masculine influences in your life you never cared about anyway.
How do you know it's a sales pitch? Sales only emphasises one side of an equation: the "beneficial" one the salesperson wants you to buy. Journalistic or cinematic integrity demands both sides are examined. There is no downside to the character's choices.
Aside from the horrendous cliché around every corner (straight girl's OMG lesbian besties!, sexually abusive stepfather, noble 2nd career escort, cynical brothel madam, lesbian liberation, ungrateful kids etc), the forced acting, the wooden dialogue, the unlikable characters that are impossible to attach to, the endless piano soundtrack covering up bad background noise over slow-mo porn, the faux/feigned/forced sentiment, the sanctimonious message, the erotica laced with feigned "philosophical" therapy talk, and the almost sociopathic disassociation from a central issue as devastating as terminal cancer, the most redeeming thing about this walking advertisement for gay normalcy is it's done with a degree of tasteful sensitivity and got a well-used switcharoo trope that approaches surprise.
If you think this is somehow "deep", you clearly must be the type of insincere person this kind of film appeals to, who thinks it means "slow motion shots with piano". It's pure self- indulgent claptrap with a self-involved character from a self-indulgent director trying to sell pink ideology whilst willfully ignoring the challenging issues it could really have bitten into.
If you're going to try to extrapolate a "milf" porn scenario into a serious film, at least add some blowback to decisions and/or make your characters remotely human. You want your audience to actually care if your protagonist dies.
Go rent "Milk", "Circumstance", or "Boys Don't Cry" instead.
TL;DR: this is a sales pitch for the lesbian lifestyle - targeted at the US middle class - attempting to masquerade as a "deep" film.
The pretentiousness and disingenuousness are what stand out the most, but simply the most frustrating point of the whole two hours is that it's misses an incredible opportunity to examine the powerful and interesting issues it so nearly touches on: female sexual dysfunction, the moral ambiguity of prostitution, the awkward navigation of sexual fantasy, the family dynamics of terminal diagnosis, and more. It scrapes the 0.1% sludge off a barrel ten miles deep.
This is what it *could* have been, if it weren't such a blatant and craven agenda-driven Trojan horse. It doesn't touch on any of these.
The message: being a lesbian is awesome, and you should try it if you're a middle class white housewife. It's the solution of all of a woman's problems, and the only route to true and safe sexual experience, which will ultimately heal you from your emotional repression (see the name of the film). Fulfilling your sexual fantasies is a way to cope with your cancer diagnosis, whilst being surrounded by all the terribly abusive masculine influences in your life you never cared about anyway.
How do you know it's a sales pitch? Sales only emphasises one side of an equation: the "beneficial" one the salesperson wants you to buy. Journalistic or cinematic integrity demands both sides are examined. There is no downside to the character's choices.
Aside from the horrendous cliché around every corner (straight girl's OMG lesbian besties!, sexually abusive stepfather, noble 2nd career escort, cynical brothel madam, lesbian liberation, ungrateful kids etc), the forced acting, the wooden dialogue, the unlikable characters that are impossible to attach to, the endless piano soundtrack covering up bad background noise over slow-mo porn, the faux/feigned/forced sentiment, the sanctimonious message, the erotica laced with feigned "philosophical" therapy talk, and the almost sociopathic disassociation from a central issue as devastating as terminal cancer, the most redeeming thing about this walking advertisement for gay normalcy is it's done with a degree of tasteful sensitivity and got a well-used switcharoo trope that approaches surprise.
If you think this is somehow "deep", you clearly must be the type of insincere person this kind of film appeals to, who thinks it means "slow motion shots with piano". It's pure self- indulgent claptrap with a self-involved character from a self-indulgent director trying to sell pink ideology whilst willfully ignoring the challenging issues it could really have bitten into.
If you're going to try to extrapolate a "milf" porn scenario into a serious film, at least add some blowback to decisions and/or make your characters remotely human. You want your audience to actually care if your protagonist dies.
Go rent "Milk", "Circumstance", or "Boys Don't Cry" instead.
A film worthy of "big screens" everywhere!
Hsrhythm6 August 2012
This film is a sheer delight! Brilliant in it's capacity to draw you into the journey of the story as it unfolds. It is a film with so many messages any woman ( or man) need to explore and assess if they are being and experiencing all they were made for. Or, are they being who they are expected to be and missing true passion and wholeness. Barbara Niven is at her best as the lead in this film and portrays "Rebecca" in such a multi-dimensional way that you are emotionally right there with her as her life is transforming. The chemistry between her and her co-star, Jessica Clark ("Paris") is rich and moving. Soul Kiss Films has delivered a film worthy of the "big screen" everywhere!
Okay movie
blakemorgan-308408 February 2024
The movie was okay...but could've been better in my opinion. I didn't really connect with the pairing of Rebecca and Paris. I might be in the minority but I think Sylvie would've been a much better sensical choice than Paris. They could've played the same story angle where Sylvie shows up instead of Paris. The first meeting would've been off on the wrong foot as seen in the movie but afterwards, they get to knowing each other and form a strong bond. I truly think people would've connected with the movie more by taking this route. It's the classic storyline of two people not getting along at first but finding each other along the way. Just my two cents.
just bad
for_raluca18 May 2019
These two women fall in love but they are not lesbians - this doesn't make any sense in real life, it doesn't happen like this no matter how hard ones life is ..
There is no real chemistry between the two and Paris talk very slow all the time
A loving portrayal of one woman's dilemma and its resolve.
revmum19 August 2014
I found a Perfect Ending to be a powerful examination of the question posed to any of us when we receive a terminal diagnosis, or we are left crippled after an accident. Each of us reacts differently when we learn that our lives are foreshortened, when we discover we may never achieve those goals we had dreamed about.
A Perfect Ending is the story of how one woman reacts when she has a devastating prognosis. The way she sets about to achieve one very deep desire, and all the consequences of her actions form the main plot of this film.
It is the story of two women, wounded deeply by events in their own lives who are healed by the passionate love they experience for one another. The love scenes are so perfectly shot that there is never an element of voyeurism, instead they become the essence of gentle reaching out we have all known in our relationships. As a person living with a terminal illness myself, this film had me both weeping and laughing at different times at the manner in which this story is played out. Thank you Nicole.
A Perfect Ending is the story of how one woman reacts when she has a devastating prognosis. The way she sets about to achieve one very deep desire, and all the consequences of her actions form the main plot of this film.
It is the story of two women, wounded deeply by events in their own lives who are healed by the passionate love they experience for one another. The love scenes are so perfectly shot that there is never an element of voyeurism, instead they become the essence of gentle reaching out we have all known in our relationships. As a person living with a terminal illness myself, this film had me both weeping and laughing at different times at the manner in which this story is played out. Thank you Nicole.
Special hours
kosmasp10 July 2022
Just a while ago I did watch a movie that you could describe being of a similar nature. But as with escorts themselves, there are quite a few differences. Big ones to be honest - no pun intended. Especially because this is about woman on woman and the one with Emma Thompson was with a male escort.
Also the one with Emma Thompson saw the comedic side of it all, whereas this is more ... well serious. Which makes sense considering the big secret our main character has. When all is revealed (to everybody that is), they will know too ... and may understand her mood swings and changes to a certain degree. Of course not having climaxed ... well that does tend to do things to you.
Nice little drama, nothing too special, but not bad either.
Also the one with Emma Thompson saw the comedic side of it all, whereas this is more ... well serious. Which makes sense considering the big secret our main character has. When all is revealed (to everybody that is), they will know too ... and may understand her mood swings and changes to a certain degree. Of course not having climaxed ... well that does tend to do things to you.
Nice little drama, nothing too special, but not bad either.
Slow
ivettesan-1221628 December 2020
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