Room in Rome (2010)
A lesbian skin flick, Very tastefully shot, Beautiful Cinematography, Amazing Aesthetics & the Absolutely Gorgeous Russian Babe Natasha Yarovenko.
Two strangers, one Roman hotel room, and twelve hours to strip off their clothes, their lies and perhaps a little piece of each other’s hearts.
On the final night of their holidays, confident Spaniard Alba persuades Natasha, a wary young Russian who insists she is straight, to come up to her hotel room. Natasha nearly bolts before anything happens, then returns for the phone she has left behind—and walks straight back into the temptation she was fleeing. What begins as flirtation becomes an intensely physical one-night affair, but Julio Medem is less interested in seduction mechanics than in what strangers confess when morning promises to erase the consequences. Between bouts of sex, wine and room-service interruptions, the women trade elaborate stories about their families, lovers and private wounds. They search maps on a computer, study the paintings surrounding the bed and use Rome’s history to decorate their own identities. Gradually, inconsistencies appear, romantic...
biographies fall apart and both must admit that real lives and existing commitments await outside. The film is essentially a two-woman chamber piece about anonymity, fantasy and emotional nakedness, though Medem occasionally lays on the symbolism and swelling music with a shovel. Some dialogue sounds more written than spoken, and there is no denying the male-gaze fantasy at its centre. Yet Elena Anaya and Natasha Yarovenko keep dragging it back toward something human: the frightening ease with which a supposedly casual encounter can become intimate, jealous and painfully important. It is messy, self-conscious and sometimes pretentious, but its best moments capture that dangerous little miracle of meeting someone who makes your carefully constructed life feel negotiable.
This is very much a product of cosmopolitan Europe circa 2010: cheap flights, hotel Wi-Fi, online maps and young travellers treating a foreign city as temporary freedom from who they are at home. Rome itself is more dream than travelogue. The room was largely a Madrid soundstage, while the Roman exteriors use the quiet Piazzetta di San Simeone, glimpsed from above and around the hotel entrance. Instead of marching us past the Colosseum and Trevi Fountain, Medem brings the Eternal City indoors through an ancient map, Renaissance-style paintings, statues, balconies and old walls seemingly soaked in centuries of lust and tragedy. Alex Catalán’s warm photography turns skin into part of the décor, giving the women the sculptural presence of figures who have climbed down from the artwork. The vibe is intimate, humid and deliberately unreal—a midsummer bubble suspended outside ordinary time, accompanied by Jocelyn Pook’s dreamy score and the recurring song “Loving Strangers.” Expect a slow, talk-heavy erotic drama rather than a bustling Roman romance: part sensual fantasy, part melancholy confession booth.
Elena Anaya is the film’s magnetic little firecracker: dark-eyed, mischievous, physically fearless and able to shift from cheeky sexual confidence to bruised vulnerability without losing her hold on the room. Natasha Yarovenko provides the cooler contrast—tall, blonde, statuesque and initially guarded, with an uncertainty that slowly melts into hunger and emotional confusion. Together they spend much of the running time completely naked, and Medem’s camera is hardly shy about admiring them. There is extensive full-frontal nudity, prolonged kissing, manual and oral pleasuring, mutual masturbation and several lengthy simulated lesbian sex scenes, shot with glossy art-house sensuality rather than hardcore anatomical detail. In plain English: this is extremely explicit by mainstream drama standards and unquestionably designed to be arousing. But the actresses are more than gorgeous bodies draped across expensive sheets; their openness gives the bedroom gymnastics a tenderness—and eventually an ache—that mere soft-core eye candy rarely manages.
A russian beauty, Natasha, meets a Spanish tomboy, Alba, in a bar in Rome on the last evening of their holidays and the Spanish dyke convinces the straight beauty to come up to her room. What follows is some Hot Steamy Sex, Beautifully shot with anatomical close-ups in amazing lights in a Really Beautiful hotel room.
This film is a Treat for the eyes if you care to Slow Down for 1 and a half hour and immerse yourself in the Sheer Beauty of Russian actress Natasha Yarovenko.
At first, both women keep telling bullshit lies to each other about their lives, their background etc, but as the night progresses, thankfully intercepted by love making sessions every few minutes, they end up sharing their real stories with each other.
Natasha Yarovenko is Stunning. The room, the lighting, the music & the Aesthetic is Beautiful.
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