Nick Orleans, once a celebrated director of stylish pornographic films, has recently returned to the industry with a series of lackluster productions. One such example is “Lesbian Fashionistas,” a film devoid of substance and overflowing with pretentiousness. Re-packaged as “Erotic Fashion Show” for cable audiences, the film fails to capture the essence of lesbian cinema, leaving viewers with a hollow experience.
A Miscast Lead and a Missing Plot
The film features Penny Pax as a fashion stylist who stumbles into the glamorous world of fashion icon Victoria Hunter, played by Ash Hollywood. Despite the presence of talented performers like Anikka Albrite and Sasha Knox, the film suffers from a poorly developed plot and a lack of character development. Orleans and co-writer “Velvet Vixen” fail to establish any meaningful conflict or drama, resulting in a narrative that meanders aimlessly for over 70 minutes in its edited version.
The film’s attempt at Brechtian techniques, with Sasha Knox delivering meta-narrative asides to the audience, feels jarring and out of place. Furthermore, inconsistent styling choices, such as Knox’s changing hair color, betray a lack of attention to detail. Even the inclusion of male characters, like Chad Alva as a photographer, feels pointless as they contribute nothing to the narrative.
A Misguided Focus on Fetish
Instead of exploring the complexities of lesbian relationships and desire, “Lesbian Fashionistas” relies heavily on visual fetishism. Orleans’ camera lingers on the actresses’ bodies, particularly their posteriors, in a manner reminiscent of gonzo pornography. While this approach might appeal to a niche audience, it ultimately detracts from the film’s potential to engage with a broader viewership. The core element of lesbian porn – the interplay of resistance, seduction, and surrender – is completely absent.
Orleans’ recent work, including “Perfect Secretary 3” and “Game On,” demonstrates a similar trend of prioritizing fetish over narrative. This shift in focus marks a significant departure from the director’s earlier work and raises questions about his artistic direction. By abandoning the core elements of storytelling, Orleans risks alienating his audience and diminishing his legacy as a filmmaker. His reliance on surface-level titillation instead of genuine emotional engagement ultimately relegates “Lesbian Fashionistas” to the ranks of forgettable adult films. The film serves as a cautionary tale of a talented director losing his way, potentially ending up alongside industry figures known for prioritizing style over substance. Instead of a triumphant comeback, Orleans delivers a film that is both tedious and ultimately disappointing.
!(lesbian_fashion.jpg)
