Anna de Ville: Gaping Stunts & Foodstuffs

Anna de Ville: Gaping Stunts & Foodstuffs doesn’t waste time pretending this is anything but a full-throttle descent into the kind of filth Evil Angel built its reputation on. Anna’s here to push limits—her own, yours, maybe even Bill Bailey’s—and the second she steps into frame, you know this won’t be some polite, by-the-numbers scene. Fishnets, ink, and that look in her eye: she’s already three steps ahead of whatever you think you’re ready for.

The toys come out early. Not as a warm-up, but because Anna treats them like an appetizer before the main course—fisting, gaping, the kind of ass fingering that leaves her squirming but never tapping out. Bailey doesn’t just watch; he directs, prods, and when she’s good and stretched, he puts that big cock to work. The camera lingers on every inch disappearing inside her, the way her back arches, how she gasps through the burn like it’s the best kind of problem to have. This isn’t about endurance. It’s about *wanting* it rough, messy, and without brakes.

Then there’s the food. Not as a gimmick, but as another tool in the arsenal. Anna’s the kind of performer who’ll deepthroat a banana like it’s foreplay, then switch to Bailey’s dick without missing a beat—ass-to-mouth like it’s second nature. The cum lands where it lands: her mouth, her face, drizzled over those natural tits while she grins like she’s winning. And she *is*. Every spank, every gag, every moment she takes more than seems possible—it’s all on *her* terms, even when she’s on her knees.

Evil Angel doesn’t do subtle, and this scene is a masterclass in why that’s a good thing. The domination swings both ways—Bailey’s in control until he isn’t, until Anna’s riding his face or milking him dry with that smirk that says *told you so*. The tattoos, the sweat, the way she keeps going long after most would quit: it’s not just a performance. It’s a dare. And by the time the credits roll, you’ll be hard-pressed to say who came out on top.