In Sarah’s Eyes (1975)

The girl has long dark brown hair pulled back in a ponytail, slim build, and a quiet intensity you don’t always see. She starts with a guy in a bedroom, on her knees giving a long blowjob — her mouth stretched wide, one hand near the base, eyes locked on his the whole time. Camera stays tight, no cuts, just the wet sounds and her focused expression. Later she’s alone in a bathroom, stroking herself with two fingers, legs spread, close-up shot so you see every twitch and ripple. The lighting’s natural, almost flat, which makes it feel more personal, like she’s not performing so much as just letting you watch. There’s no small talk, no roles, no costumes — just her face, her body, and the kind of realism that works better than any script.