“Does he disappear into the bathroom a lot?” Skow asked.
“You know, he does,” Kez replied.
Our Catholic family had a surprisingly Darwinian Survival of the Fittest mentality, and we were left to kill each other. Watching this scene, I tried to imagine that Baltimore household in which such a woman is brought in to maintain order.
Kez is cheerful, ebullient, bruising, and spongy in all the right places. She reminds me of a less entrepreneurial Madison Young, though I’m sure the two could have wonderful conversations. That said, I really hope Kez doesn’t do many porn movies, because I can’t imagine how anything could top her scene in “Brand New Faces.”
Skow is one of my favorite directors, whether in features or quickie gonzos like this one, because he gets to the heart of the matter quickly. He is from New Jersey.
But I’ve noticed a progression since his tentative off-camera directions in the first “Brand New Faces” to this one: Kez makes him a crazy man. He cannot keep his hands off her. They keep entering the frame at odd angles to squeeze, prod, and paw at her. At one point, I think he uses two hands, which begs the question of how he was holding the camera.
Readers, I am certain I would have done the same thing. Each of you would have, if given the opportunity. Speaking of Darwinian adaptability, I am sure that even Preakness winner Rachel Alexandra, herself no stranger to Maryland, would have evolved opposable hooves on the spot if given but a chance to grope at Chloe Kez.
Or if you would like to buy “Brand New Faces 17,” you may do it here.