Initiation Lesbienne
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Initiation Lesbienne
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Je devais avoir entre 13 et 14 ans. Mais un des mes camarades de classe Ă©tait plus ĂągĂ© de 2 annĂ©es, suite Ă un redoublement puis dâun accident de mobylette qui lâavait immobilisĂ© pendant de longs mois. Câest pourquoi il marchait encore Ă lâaide de bĂ©quilles et que je mâaccompagnais chez lui, aprĂšs la classe, en portant son sac.
Un jour, profitant dâune pause sur un banc public dans le parc que nous traversions pour rentrer, il me montra une revue naturiste piquĂ©e Ă ses parents, soigneusement dissimulĂ©e dans son bouquin de gĂ©o. A lâĂ©poque ( annĂ©es 60 ), la censure Ă©tait sĂ©vĂšre et tous les sexes et systĂšmes pileux Ă©taient soigneusement gommĂ©s lors du tirage. Mais nous nous rĂ©galions de la vue des belles ondines : les petits tĂ©tons gros comme des abricots des jeunes adolescentes, les seins en poire bien galbĂ©s des jeunes filles, les beaux seins ronds et pleins des jeunes mĂšres de famille et ceux en forme de gants de toilette des vieilles mĂ©mĂ©s. Pour moi, câĂ©tait une dĂ©couverte dâun monde inconnu. Il me proposa de passer chez lui le jeudi suivant pour me faire voir dâautres numĂ©ros de cette publication.
Je mâen souviens parfaitement. Il faisait chaud car nous Ă©tions fin juin, lâĂ©cole finissait dans quelques jours. Câest donc en chemisette lĂ©gĂšre et en short que je me prĂ©sentai chez lui Ă lâheure convenue. Ses parents Ă©taient absents et il avait baissĂ© les persiennes pour Ă©viter la chaleur. Cela donnait un petit air intime Ă notre rĂ©union.
Il trĂŽnait dans son fauteuil et avait prĂ©parĂ© toute une pile de revues que nous feuilletĂąmes avec gourmandise, rigolant Ă qui mieux mieux au vu des nĂ©nettes Ă poils. Puis soudain, il entrouvrit sa braguette et en sortit son sexe dardĂ©. Pas bien grand, environ 13 Ă 15 cm mais bien droit comme un poignard, joliment couronnĂ© dâun gland conique, le fĂ»t de son membre dĂ©corĂ© dâune sĂ©rie de petites veines gonflĂ©es et plantĂ© dans un joli buisson de poils noirs et trĂšs bouclĂ©s. JâĂ©tais mĂ©dusĂ© et en admiration devant ce magnifique membre. Il se caressa et me demanda de le prendre en main. Dâabord je refusai mais il insista tant et si bien que je finis par prendre sa queue en main : elle Ă©tait terriblement chaude et trĂšs douce au toucher.
Puis il me demanda de sortir la mienne. Je refusai, le rouge au front. Il me menaça dâen parler aux autres Ă©lĂšves et de faire de moi la risĂ©e de la classe. La mort dans lâĂąme, je me rĂ©signai et sortis laborieusement ma banane gonflĂ© de mon slip kangourou. Elle Ă©tait bien plus longue que la sienne, courbe, et dĂ©nuĂ©e de pilositĂ©, mis Ă part un petit duvet qui pointait sur mon bas-ventre. mais il ne se moqua pas et lorsquâil posa sa main sur ma queue pour lâemprisonner, je fus pris dâun vertige et dus me retenir Ă son fauteuil tant mes jambes tremblotaient de gĂȘne.
Jâaurais volontiers Ă©changĂ© mon sexe contre le sien, tant je le trouvai esthĂ©tique et sexy, bien plus que ma banane encombrante.
Il posa son pouce et son index le long de son membre et toujours en me tenant la queue de sa main gauche, il sâactivait de bas en haut, de façon de plus en plus rapide. Pour ma part, jâavais dĂ©jĂ des Ă©rections mais je nâavais pas encore dĂ©couvert la masturbation. Je fus donc interloquĂ© en le voyant sâactiver et au bout de 1 ou 2 minutes, de petites coulĂ©es de liquide Ă©pais surgirent de son gland, se rĂ©pandant sur son membre et se perdant dans les boucles de sa toison noire. Il avait fermĂ© les yeux Ă cet instant et sa pression sur ma verge sâĂ©tait accentuĂ©e dans un spasme de plaisir. Je venais de dĂ©couvrir lâĂ©jaculation.
Je remballai mon matĂ©riel, un peu honteux et dĂ©contenancĂ©, pendant quâil sâĂ©pongeait la touffe avec des mouchoirs en papier. Mon cĆur battait la chamade.
Quelques jours plus tard, lâannĂ©e scolaire prenait fin et je changeai dâĂ©tablissement, perdant tout contact avec LUI, mon initiateur. Dâailleurs jâoubliai cet Ă©pisode ou du moins, je lâenfouis dans le plus profond de mon subconscient.
Des annĂ©es plus tard, je dormais dâun sommeil agitĂ© Ă cĂŽtĂ© de mon Ă©pouse lĂ©gitime. Et soudain je me revis, dans un rĂȘve, debout Ă cĂŽtĂ© de mon camarade de classe assis dans son fauteuil, mon short et mon slip sur les chevilles, mon sexe dressĂ©. Mais cette fois ci, il me caressa dâabord puis se pendant vers mon bas-ventre, il couvrit mon membre de baisers, lĂ©cha mon gland, titilla mon trou de bite avec sa langue puis soudain me prit dans sa bouche chaude et humide, commençant un doux va et vient, dâabord « soft » avec ses lĂšvres, puis un peu plus virilement avec ses dents en se retirant puis Ă nouveau en mode soft puis Ă nouveau avec ses dentsâŠalternance de sensations avec une agrĂ©able douleur de matĂ©rialisant sur mon sexe. JâĂ©tais pris dâun vertige de bonheur, jâavais envie de fondre de plaisir. La scĂšne dura de longue minutes, ma tempĂ©rature montait en flĂšche. Ăperdu de plaisir et de reconnaissance envers mon maĂźtre des plaisirs, mon doux initiateur, je reculai dâun pas pour me dĂ©gager de sa bouche et me prĂ©cipitai entre ses jambes Ă©cartĂ©es pour saisir son petit glaive. Je commençai par lâastiquer copieusement puis lâengloutit dans ma bouche, faisant tourbillonner ma langue autour de son gland, suçant avec aviditĂ© et gourmandise Ă grand renfort de bruit de succion. Je lâavais EN MOI, je le possĂ©dai, il Ă©tait ma chose, mon amant, mon maĂźtre, je suis son esclave, je me livre Ă lui, je lui offrirai ma virginitĂ© anale, il pourra dĂ©foncer ma petite rondelle sâil le souhaite, je me livrerai Ă toutes ses demandes, je serais sa chose, sa chienne, son serviteur âŠje fis tant et si bien, avec application et excitation, que soudain un liquide chaud et Ă©pais envahit ma bouche, une vague de miel se rĂ©pandant en moi par petite saccades tĂ©moignant du plaisir que je lui avais donnĂ©âŠ
Et soudain je me rĂ©veillai, les joues humectĂ©es de ma propre bave, les cuisses inondĂ©es de mon propre sperme car jâavais Ă©jaculĂ©Â de plaisir tant mon rĂȘve Ă©tait rĂ©aliste ! JâĂ©tais rĂ©veillĂ©, presque triste et déçu, Ă©coutant la respiration rĂ©guliĂšre de ma femme endormie, elle qui nâavait jamais acceptĂ© de me sucer car cela Ă©tait contraire Ă sa conception des relations intimes. Je gardai donc mon rĂȘve au plus profond et nâen parlai Ă quiconque avant cet instant.
A, si tu te reconnais, fais mois signe, jâai des choses Ă rattraperâŠet des regrets Ă effacer !
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Bonjour, Ce site comporte des images et des textes réservés à un public adulte. Vous devez avoir plus de 18 ans pour continuer à naviguer ici. Cordialement,   Cocolst
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We look back through film history at 10 of the greatest movies about lesbians.
Itâs tricky to pinpoint the moment when the movie world could proclaim the first openly lesbian film. Identifying early cinematic representations of lesbianism was like collecting crumbs off the top table. Sapphic sisters were used to watching whole films just to see a character (usually portrayed as victim, killer, neurotic or prostitute) shoot a covert look that audiences could interpret as queer â for instance, the apparent lesbian subtext between Vienna (Joan Crawford) and Emma (Mercedes McCambridge) in Nicholas Rayâs Johnny Guitar (1954).
In the UK , 1967 was a milestone, the year that homosexuality was decriminalised (even if there was no mention of lesbianism in the new legislation). In the USA , the 1969 Stonewall riots were a turning point that led to the beginning of the modern gay and lesbian liberation movement. From those moments on, lesbians have been slowly coming out on celluloid, albeit often controlled by the gaze of male directors.
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In tracking the key films of lesbian cinema, weâve restricted our list to films available on DVD or for streaming in the UK . This sadly means weâve had to leave out many favourites: MĂ€dchen in Uniform (1931), Club de femmes (1936), Personal Best (1982), Virgin Machine (1988), and great films by Ulrike Ottinger and Chantal Akerman. Which begs the question, why are there not more lesbian films available to watch on DVD /VoD? After all, Walter Benjamin did say that the lesbian is the heroine of modernismâŠ
Childie: Not all women are raving bloody lesbians, you know.
George: That is a misfortune I am perfectly well aware of!
The Killing of Sister George is one of the greatest and most grotesque of all lesbian crossover films. Life B.G. (before George) held little hope for cinema-loving lesbians. Pre-decriminalisation dramas included 1967âs The Fox, which has the basic premise that all a lesbian needs is a man, and 1963âs The World Ten Times Over, which is possibly the first British lesbian film but was heavily censored before its release.
All hail Beryl Reid, magnetic in her portrayal of George, a loud, aggressive, cigar-chomping dyke who loses her job and her young lover. It has the mother of all lesbian love triangles: butch girl-chasing George; the predatory, sophisticated middle-class dyke (Coral Brown), and Childie, the coquettish neurotic femme (Susannah York). Rated X for its explicit sex scene, the film tanked at the box office but remains an era-defining cult classic. Significantly, some scenes were shot in an actual London lesbian bar, The Gateways Club, giving audiences a rare on-screen glimpse of London lesbian culture.
Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a 4-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic. Abdellatif Kechiche, director of last yearâs sexually sensationalist Blue Is the Warmest Colour, might have done better if he had taken a leaf out of Hammerâs book. Hammer calls the film her âlesbian commercialâ.
She went on to become one of the brightest and most significant lesbian avant-garde filmmaking voices of the past 40 years, whose work includes over 80 film and video works covering lesbian love and sex, womenâs spirituality, radical feminist politics, the figure of the goddess, and lesbian/queer film history. Without Hammer, there would be no Born in Flames (1983), no Desert Hearts (1985), no Go Fish (1994).
At time of writing, Ukraine is going through a 21st-century revolution and if the geopolitical land grab ends in victory for Russia, with its anti-gay laws, then the future for Ukraineâs LGBT community will be uncertain.
Another Way is set in another eastern European country dealing with its own revolution: Hungary immediately after the failed 1956 uprising against communism. The film details a courageous and intelligent love story between 2 pro-democracy journalists. The topic was a double taboo because it was the first Hungarian film to deal with homosexuality as well as a controversial look back at the consequences of the revolution. Director KĂĄroly Makk sensitively juxtaposes this tender but doomed love affair with the high hopes and bitter suppression of the Budapest Spring. Itâs clear that Makk was not especially interested in homosexual rights in 1950s Hungary; nevertheless his portrayal of lesbianism is neither exploitative nor melodramatic.
Oh la la! Câest Paris, câest magnifique! Well it would have been magic if you happened to be a boho creative woman living on the cityâs Left Bank in the early decades of the 20th century. Greta Schillerâs absorbing investigative documentary could have been called Paris Was a Lesbian for the amount of Sapphos living, working and loving together. Writers Collette, Djuna Barnes, Gertrude Stein, Alice B. Toklas, poets H.D. and Natalie Clifford Barney, booksellers Sylvia Beach and Adrienne Monnier⊠the list goes on and on.
Schiller (Before Stonewall, 1984), together with her long-term collaborator Andrea Weiss, rewrites (her)story with unseen home movies and new research to create a magical film about this most original of womenâs artistic communities. Weissâ British queer film history documentary A Bit of Scarlet (1997) is also worth a look and can be watched on the BFIÂ Player.
Director: Lana and Lilly Wachowski
No lesbian film list is complete without the Wachowski siblingsâ dazzling sexy noir/crime caper/slapstick comedy Bound. It was their pre-Matrix breakout film, a titillating Playboy hybrid thriller mashed up into a lesbian feminist love story. The Wachowskis donât just play with the male gaze, they flip it sunny side up and get feminist writer Susie Bright in as their lesbian âsexpertâ.
The story concerns a mobsterâs girlfriend falling in love with the ex-con dyke next door. Jennifer Tilly and Gina Gershon positively sizzle as couple on the run, Violet and Corky, giving audiences plenty of girl-on-girl action. Taking inspiration from Billy Wilder and their love of comics, Bound completed a 90s trilogy of (in critic B. Ruby Richâs phrase) âLethal Lesbiansâ films (beginning with Thelma & Louise, 1991, and Basic Instinct, 1992) â a cinematic expression of lesbian feminist desire.
US indie writer/director/educator Cheryl Dunye burst onto the New Queer Cinema scene in 1996 with The Watermelon Woman, an audacious, self-styled âDunyementaryâ. However, itâs her rarely screened follow-up film, Stranger Inside, which really impresses. Made for HBO and produced by R.E. M.âs Michael Stipe, itâs set within the US womenâs prison system and tells the story of an incarcerated young African-American woman who goes in search of her biological mother.
Based on 4 years of research into the lives of women inside, the drama is a powerful study of prison life in the 21st century. Far away from the piss and vinegar of Scrubbers (1982) and Prisoner Cell Block H (1979-86), Dunyeâs film makes a potent case for how race and class have created a new caste system behind bars.
In 2002, when Lisa Gornickâs debut feature premiered at the BFI London Lesbian & Gay Film Festival (now BFI Flare), it was a significant moment because the film was the first British lesbian feature in 10 years. As such, the film and director attracted considerable attention both at home and abroad. Gornick wrote, directed and starred in this breezy, urbane comedy, which she described as âa thesis on love and its labelsâ.
The life and loves of 30-something Marina are explored as she searches for answers to the big questions in her life. Made 2 years before the internationally successful TV series The L Word (2004-09), Do I Love You? deftly captures the zeitgeist with its investigation of lesbian identity and sexual mores in the 21st century. Itâs like a lesbian Annie Hall (1977) or Frances Ha (2012), with Gornick (who recently starred in The Owls) cornering the market as the thinking womanâs favourite dyke.Â
Lesbian cinema finally hits the big âOâ time with Lisa Cholodenkoâs (High Art, 1998) family-friendly comedy The Kids Are All Right ratcheting up four Oscar nominations in 2011, including best picture. Annette Bening and Julianne Moore tear up the straights-canât-play-gay rulebook as long-term married couple Nic and Jules, who hit midlife parenting and partnership problems.
The mainstream press went nuts, joyful that they had a homosexual film they could write about without unsettling their more conservative readers â though Cholodenko suffered a backlash from some queer corners for her inclusion of hetero sex (with beefcake Mark Ruffalo), and for her filmâs apparent advocacy of traditional family values.
The French term for tomboy is âgarçon manquĂ©â, which translates literally as âfailed boyâ. âI donât need to comment, you can see how bad it isâ, said writer/director CĂ©line Sciamma (Water Lilies, 2007) on the phrase, preferring to give this honest little film about gender confusion an English title.
Laure/Mikael is 10 years old, her/his family has moved to a new town and we follow her/his adventures over one summer as s/he negotiates the early complexities of selfhood: playing a game of football, finding s/he is attracting the attention of local girls and facing the ultimate test of wearing a bathing suit. In France, the film was received as a family film and went on to be shown in primary and secondary schools as part of classes about cinema.
The second British lesbian film to be included on the list, Break My Fall is the story of the painful end of a one-time loving relationship. A previous BAFTA nominee for best short with 1999âs Travelling Light, writer/director Kanchi Wichmann made this feature debut shooting on 16mm on the streets of east London. (Campbell Xâs East End-set Stud Life, made a few years later, is also worth a peek)
Influenced by the formalism of early Chantal Akerman films such Je tu il elle (1975), it boasts music from local bands (Wet Dog, Peggy Sue) and the kind of realistic characterisation of people and city that can be found in Bette Gordonâs cinema (eg Variety, 1983). Released in 2012, Break My Fall (together with Weekend and others) was identified as part of a new wave of queer cinema, charting queer experience in all its complexities.
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Originally published: 11 March 2014
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