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An all-girl celebration of the ultimate decade of decadence, Girls, Girls, Girls 2 features a "Motley Crue" of spandex-clad supervixens. Joanna Angel, Sasha Grey, Alexis Texas, Kimberly Kane, Misti Dawn, Draven, Allister, Asphyxia, Penny Flame, Cadence St. John and Regan Reese are the seasoned professionals majoring in finger banging and anal toys, not to mention glam-tastic costumes, big hair and even bigger orgasms. You're in for the most totally awesome, totally radical, heavy metal pussy-licking fest ever. While every pairing overflows with dirty deeds, the climactic coupling featuring Sasha and Joanna will shake you all night long, thanks to the spectacular

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Hard X is proud to present Asian Anal Vol. 2, the second installment of a series devoted to capturing the most gorgeous Asian performers in intense gonzo anal action. Starring cute little Kendra Spade, curvy beauty, Brenna Sparks, cutie with a booty Rina Ellis, and knock out Kaylani Lei. Asian Anal Vol. 2 features iconic teases shot in high end locations and hardcore anal sex. Do not miss this latest Hard X release.

Elegant Angel presents "ASIAN BOMBSHELLS 2" over 2 hours of the hottest Asian girls in porn! The beautiful Morgan Lee headlines the follow up to the best selling Asian Bombshells 1. Featuring an amazing roster of the most beautiful Asian girls in the biz doing Anal, 3 ways, ATM and even some squirting. For the connoisseurs of Asian porn it doesn't get any better than this! Guaranteed to drive up the business of your local massage parlors!! Starring Morgan Lee, Marica Haze, Mia Li, Kalina Ryu and Lana Violet. Enjoy!

Escaping from their dysfunctional families, Behiye and Handan become best friends. Their euphoria will soon be replaced by regrets and eventual betrayal as class differences resurface.

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"As audiences could see for themselves in a special screening series organised by the Austrian Film Museum in November 2011, Benning’s more recent films move in several directions simultaneously. He picks up on older projects, reworks them, yet at times leaves these behind and makes an utterly fresh start – striking a strange equilibrium between continuity and a new slant on particular models of film aesthetics. Benning has been viewed over the past decade as the USA’s landscape filmmaker par excellence, and at first it seems bewildering to find he has now turned his attention to phenomena of the digital world such as Web 2.0. In »YouTube Trilogy« (2011), Benning organised found material around three thematic clusters which apparently have little in common. The first section focuses on children of various religious affiliations singing: »Agnus Dei« in the crystal-clear voice of a boy from the Vienna Boys’ Choir, two girls singing a »Shalom« song, a teenager belting out into Leonard Cohen’s »Hallelujah« and a solo of an Arabic song by a young girl. These young people making music in a range of formats produce different types of intimacy. Whilst the Vienna Boys Choir piece is clearly taken from a television recording and exudes a sense of the official nature of the event, most of the other videos bear the hallmarks of youthful (YouTube-style) self-staging. These tensions function in a sense as a prelude to Benning’s attempt to give shape to a kind of concealed artistic autobiography by compiling and processing found video clips. He describes this part of the film as »my own sketchy tongue-in-cheek history«2 and thus establishes an arc of narrative tension underpinning what at first sight seem to be unconnected snippets – a man describes how a pistol works, President Eisenhower gives a speech, someone tries on a blue dress in a yellow window frame. Nonetheless the clips, filmed directly from the computer screen, function not so much in terms of what nonetheless remains an arbitrary combination but rather through the prism of the unique character of each scene. That makes the autonomy asserted by Benning even more questionable; while he claims authorial sovereignty over the digital found pieces, this ultimately gives rise to an idiosyncratic cryptograph. In the third section – with the deliberately attention-grabbing title »Asian Girls« – Benning picks up on the issue of the Internet’s typical categorisations, yet struggles to shift these categories away from the terrain of stereotype. "