The "Making of" short subject is more interesting than the finished feature in this lame Kendo effort, which he calls "The Virgin II" in his egotistical 1/2-hour explication of the movie. Problem here is endemic to most of Marc Dorcel's Kendo projects over the past four years: botched in post-production. Character names are changed, all dialogue is either excised or drowned out (by narration in various languages), and whatever Mr. K (aka Kenneth Docherty) was driving at is lost via meddling. Our 18-1/2-year-old heroine played by plain-Jane Gina Gerson, unnamed as she narrates a flashback story in the final print but named Amy by Kendo in the BTS, eventually gets laid in the final reel by her BFF's boyfriend. Rather confusingly, Cayenne Klein as the friend is named Sandra but called Alex originally by Kendo. Similarly, the studly boyfriend played by the omnipresent E. Euro star Choky Ice is called Guillaume, but Kendo wrote him as Sebastien, owner of a swingers club.That swingers club is featured prominently, but the narrated story doesn't stipulate Sebastien/Guillaume as an owner, merely a patron. A total of six sex scenes include mostly random filler, highlighted by guest star femmes who steal the spotlight from the two leads Gerson and Klein, and what we have is Lifestyle Porn, revolving around the world of libertines, or what we in the States call swingers or swappers.The scene stealers are the magnificent Shalina Devine, who has a 3-guy gang-bang (including Choky) at the club in the show's first vignette; and also the exotic Oriental chick PussyKat, who pops up at the club in a group sex scene that includes Klein. The finale of Choky filling up Gina's pussy is an anticlimax to close the movie, with a hedonistic 3 sleeping in bed (Choky, Klein & Gina) happy ending. Notably Mr. K does not indulge in his usual avant-garde editing trickery, distorted visuals or extreme cropping of image, and also leaves out his familiar trademark fetishism. In the BTS he heaps endless praise on himself, sort of a British Trump approach, even claiming "as only I can" when speaking of the use of shallow focus. As a film buff I applaud instead deep focus (see: the works of d.p. Gregg Toland) so such hubris is utterly ridiculous, Ken.