"On the Couch: Volume 2: Toronto" (Disc 2): The Toronto sessions begin very differently, with a trip to a bar holding a contest to become a Bianchi model. Also different is the fact that Bianchi didn't know any of these men before they met for their sessions, and the models didn't know what exactly Bianchi would expect of them. For example, that he had a rule that the models must show full-frontal nudity, a rule that Bianchi breaks more than once. In each case, it was because he found the models too wonderful not to use them. Good call.
In the first segment, Matthieu and Marcello, two beautiful French Canadian lovers, tell Bianchi they don't want to do full nudity. Matthieu works on a reality show in Canada, and Marcello a large corporation. Both are so gorgeous, though, that Bianchi goes ahead with the shoot, and in the end, they became the cover models for the book "On the Couch 2." Matthieu and Marcello prove to be masters at erotic teasing -- they find a multitude of ways to keep their briefs on, and many ways to almost take them off. Although it is not meant to be so, this scene is an underwear lover's dream, with both men's erections threatening to burst free from their confinement at any moment. In the end, they do take their briefs off, but their genitals remain hidden from the lens at all times.
Rob, the model in the next segment, is long-limbed, blond and movie-star handsome. He's a father who has separated from his wife and come out of the closet, making his willingness to appear in this project all the more remarkable. His body, when revealed, is lean and cut, and his sheer black briefs are revealing. Rob's sensuality is tinged with a profound, touching seriousness. He uses a black leather scarf as a prop for the shoot, playing with it and wrapping it around his body, and when he brings himself to orgasm, his eyes are squeezed shut, his hand slowly stroking himself, his legs spread wide apart.
The next model, Neill, couldn't be more different from Rob. He sports tattoos on both arms, his nipple is pierced, and he has a devilish goatee. Neill's body is tight, his abs cut, lightly hairy, and his eyes are dark and intense. He also seems somewhat amazed (but not shy) at the whole posing nude thing –- a trait that makes him all the more attractive. The highlight is when Neill dons a pair of white scrubs, which are slightly damp, making them both clingy and revealing.
John, the other model who refused to go full frontal for Bianchi, could hardly be more charming, with his amazing grin, his playful attitude, and his changes of underwear that range from hot (Y-front briefs) to silly ("I Love New York" on the crotch) to risqué and controversial (the face of Jesus wearing the crown of thorns). Bianchi manages to get John to bring himself to orgasm while wearing the latter, and the cum John produces soaks the crotch of the briefs, and he rightly compares the image created with Seranno's "Piss Christ."
A group scenario provides the most interesting and the most complicated segment of the Toronto sessions, with a shoot including four men (Neill, George, David and Daniel) edited in with a solo (Tom). The personal dynamic is equally complicated: Neil is George and David's boss, and George and David have recently split up; and Daniel has only had sex with a man once before. The scene with the foursome is very oral, and the shot of these beautiful men together, enjoying each other's bodies, is really stunning. Later, the foursome breaks up into pairs, with the former lovers reuniting, and Neill and Daniel joining for mutual exploration. None of the foursome reaches orgasm at the end of the scene, which is amazing considering how much they have tantalized each other with their mouths. Tom, though, who has been showing off his love for both leather and cigars in the scenes intercut with the foursome, does, shooting a major load with his erection tightly circled by a metal cockring.
Without a doubt, the most outstanding shoot is the one reserved for last. Peter, a very masculine, handsome man with a beautiful, V-shaped physique and an unstoppable libido, anchors the production with a performance that is riveting. Intensely sexual, with a natural heat that burns off the screen, Peter's mood changes from funny to heated on a dime. Peter's shoot is also divided into two parts. In the first, he starts off wearing green khaki military underwear and black leather shoes. Watching Peter flex and show off his beautiful physique is hot; when he reclines and strokes his erect cock until he reaches a loud, mind-blowing, volcanic climax, his back arched, his muscles flexed, it's sizzling. I've never seen anything quite so awe-inspiring captured on film. Peter then changes into a leather thong, and after showing off his gorgeous backside, release his erection from the pouch, and again stands and produces an amazing orgasm -- the trajectory of his load is so powerful that it hits Bianchi's camera. The next part of Peter's shoot is different from everything else included throughout. In a montage of stills, the story of Peter's personal interaction with Bianchi is told. In the earlier interview, Peter expresses an interest in playing the bottom in a master-slave scene. Bianchi obliges him, with permission from his partner. The photos show Peter tied to a four-post bed, putting on a cockring, and with Bianchi's impressively erect cock in his face.
Although this scene is shown in stills only, it expresses perfectly everything Bianchi is trying to do with the "On the Couch" series: to release inhibitions, to explore fantasies without fear of reproach, and to realize the full range of sexuality as it was meant to be enjoyed.