Raffles (1985)

A slim woman in her 20s with long brown hair is alone in a dim room, one hand between her legs, head tilted back like she’s getting off. The backlight cuts a sharp outline of her body, close-up from above — you don’t see full penetration but the motion is clear, deliberate, not rushed. Later, two guys — one blonde in his 20s, the other dark-haired in his 30s — stand close at a bar, chest tattoo visible on one, leaning in like they’re arguing or about to hook up, hard to tell. Outdoors, a mixed-race couple in their 20s embraces on a boat dock, she’s got long dark hair and slim hips, he’s wearing sunglasses and has a muscular build, their kiss feels real, not staged. The shift from indoor shadows to natural daylight works — the gun scene especially stands out, she’s holding it like a prop but the vibe is more sensual than threatening. Camera stays tight in the solo and couple shots, wide enough at the bar to catch subtle body language.