Sauve qui peut (la vie) (1980)

The brunette in the fur coat dominates the early frames — late 20s, dark brown bob, curled at the ends, sitting close to the camera in a dim indoor setting. She’s not just going through the motions — her mouth works steadily, lips stretched, head moving with rhythm like she’s actually into it. You don’t see the guy, but the angle keeps it all about her face and mouth action, tight and focused. Later, a blonde teen shows up in different scenes — long hair, then tied in a bun — sitting by a window, scrolling on her phone at home, daylight shots giving a candid, voyeur feel. None of the frames show explicit sex between performers, just the blowjob in close-up and the blonde in casual, nonsexual situations. The contrast between the two — one bold and direct, the other quiet and reserved — makes the edit feel like two different vibes stitched together.