Wat zien ik (1971)

Big-titted brunette with wild curly hair and a soft, thick body is topless in bed early on, pulling her tits apart while looking right at the camera. She’s later on a dimly lit couch with a bearded dude — muscular, short dark hair — and they’re grinding face-to-face, her bouncing slowly while he grips her hips. The scene shifts: she’s tied to an office chair, wrists bound, struggling under fluorescent lights, face tense like she’s not sure how she got there. Then it cuts to a crowded indoor space — maybe a lobby or atrium — with arches and people walking by, but they’re still together, moving through the crowd like nothing’s happening. Finally, they’re standing close again, touching, her hand on his chest, both blending into the background like they’re playing a game. The lighting changes drastically between scenes — soft at first, then harsh, then ambient — and the whole thing feels like a mix of home video, staged tension, and voyeuristic public intimacy.