Symphony – Anna Smith, Katie Marino

“Symphony” marks a significant milestone in the aesthetic evolution of director Andrej Lupin. From the first frame to the last this Sapphic pas de deux is intensely intimate and relentlessly romantic. The classical flavor of the soundtrack woven through the film sets the tone, and the masterful cinematography, moving close for painterly, evocative facial close-ups, or gliding overhead for an angel’s view of an exquisitely beautiful amorous interlude, enchants the eye and inspires the imagination. But it’s the film’s two stars — Katie Marino and Anna Smith — who breathe such sincerity, passion, and natural beauty into Lupin’s creation. There is no story, no dialog, no narrative, and none is needed. We don’t know what brought this couple together, but we immediately understand the power of their connection and their overwhelming desire for one another. “Symphony” unfolds gradually. As Suzie and Iwia kiss and caress we sense that they’re savoring every moment, every touch, every glance, every smile. And, following the structure of a work of orchestral music, there is a prelude, followed by two movements, and a brief and exceptionally beautiful coda. Suzie takes great care as she makes love to Iwia, and the pleasure she takes is as great as the pleasure she gives. In the second movement Iwia is every bit as devoted to giving her lover pleasure, and the result is orgasmic, to be sure, but also profoundly affectionate and tender. Passionate, sincere, and beautiful in every aspect, “Symphony” is a modern classic of artful, stylish, and romantic erotica.