DVAJ-633 I can't get home from the job due to a sudden heavy rain with my female boss… While we warm each other's bodies, we end up creampied in the car with sexy wet hair and wet skin, so much so that the wagon shakes Ruisa Miyazuki – Ruisa M

I, a construction worker, went to the job site in a van with my boss, an older woman, and finished the work, but we were stranded at the job site due to a sudden heavy rain. Unable to drive due to muddy tires and no signal in the mountains, I have no choice but to spend the night in the car with my boss. I couldn’t hide my excitement as I couldn’t hide my excitement from seeing my boss’ hair wet from the rain, and the toned, muscular abs of his wet skin that was exposed as he wiped himself dry, and as I couldn’t hide my excitement, my boss snuggled up to me and…Lightning… Alone in the car amidst the roaring storm, their anxiety brought them closer to each other, and their feelings gradually began to grow, as they warmed up by pressing their bodies on top of each other so violently that the wagon shook.

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DVAJ-633 Reviews

A masterpiece.

Tsuzuki’s body is absolutely incredible, but in many of her past roles there’s always been this sense of mismatch — like her personality and her erotic energy never quite line up. When she tries to play shy or reserved, it doesn’t feel like her; when she plays the wild, promiscuous type, her face doesn’t quite carry that kind of lust.

But in this film, everything finally clicks. She’s confident, talkative, and has that big-sister energy — strong, straightforward, but still insanely sexy and physically sensitive. Her desire feels raw and honest, and it’s really easy to get immersed in the story.

The male lead is solid too — good looks, great physique, convincing acting. The chemistry between them is spot on.

I really hope Tsuzuki does more roles like this. Her face is too plain and natural for the typical sultry or melancholic type. She’s got a heroic kind of beauty — not seductive, not pitiful — but with such a powerful sense of desire that she doesn’t quite fit into submissive or “resisting” roles either. She shines the most as a straightforward, confident woman who takes the lead in a relationship — not by acting coquettish, but by using her body in a way that completely disarms her partner.

And honestly, I think she could even pull off something rare in East Asian cinema: a character who is physically submissive but emotionally dominant — someone who makes her partner follow her will even while he’s the one “in control.” Not sure if Japan would ever go that far, but I’d love to see it.