2002 Directed by Adrian Lyne
Connie is a wife and mother whose 11-year marriage to Edward has lost its sexual spark. When Connie literally runs into handsome book collector Paul, he sweeps her into an all-consuming affair. But Edward soon becomes suspicious and decides to confront the other man.
Richard Gere Diane Lane Olivier Martinez Erik Per Sullivan Zeljko Ivanek Dominic Chianese Kate Burton Chad Lowe Gary Basaraba Myra Lucretia Taylor Michelle Monaghan Margaret Colin Lisa Emery Michael Emerson Geoffrey Nauffts Joseph Badalucco Jr. Erich Anderson Damon Gupton Marc Forget Larry Gleason George F. Miller Paul D. Failla Hal Smith-Reynolds Tyree Michael Simpson Liza Colón-Zayas Al Cayne Murielle Arden Salem Ludwig William Abadie Show All…
Harry Cohen Tim Gomillion Paul Massey Dennis Rogers Gregg Baxter Alan Rankin Andy Nelson Wylie Stateman Doug Hemphill Robert Renga Randy Kelley Anna Behlmer Craig Heath James Bolt Wade Wilson
Unfaithful Filmproduktion GmbH & Co. KG Fox 2000 Pictures Regency Enterprises Epsilon Motion Pictures
Thrillers and murder mysteries Moving relationship stories Intense violence and sexual transgression sex, sexuality, relationships, erotic or feelings film noir, femme fatale, 1940s, thriller or intriguing marriage, emotion, romance, relationships or feelings marriage, drama, family, emotional or emotion romance, emotion, relationships, feelings or captivating Show All…
Adrian Lyne understands that erotic thrillers like these are always better when there’s an innocent child to worry about (please think of the children) but this one is extra funny because that innocent child is Dewey from Malcolm in the Middle and in one scene he’s dressed up like a lamb in his school play
I would also cheat on my husband and try to spend as much time away from my family as possible if Dewey from Malcolm in the Middle was my child.
Under the lens of the auteur theory, it’s purely – thematically and aesthetically – an Adrian Lyne film; from the soapy production, to the story centered on sexually liberating behavior and the way this can threaten the American nuclear family.
If Fatal Attraction had ended with its alternate ending, then it – along with 9½ Weeks - would sit with Unfaithful as some kind of unofficial Lyne trilogy that dwell on very similar ideas within the blurred lines of erotic thriller conventions.
The reason Unfaithful comes out as the best of the three is the sincerity – and being Lyne’s (as of today) latest release, it exists as the first film in his oeuvre that actually embraces the Lyne style…
Cinematic Time Capsule
2002 Marathon - Film #62
”I shouldn’t be doing this”
A Fatal Distraction
Adrian Lyne is back with another dark tale of emotional turmoil. Featuring Diane Lane’s Oscar nominated performance as a mother who drives Dewey bonkers, has an affair and commits the worst betrayal of all: re-gifting!
It’s a powerful morality drama that teaches us lessons such as: when the husband of the woman you are having an affair shows up at your door and asks to come in, perhaps the correct answer is NO.
”We could end this now and no one would get hurt”
The Anti-Valentine’s Film Festivus
Unfaithful. 2002. Directed by Adrian Lyne.
Written by Claude Chabrol. 🇫🇷
Diane Lane gave the performance of a lifetime and was nominated for an Oscar. She should have won! Unfaithful was written by French auteur Claude Chabrol as La Femme infidèle. At first, Diane Lane is seems happily married with a son while living in the suburbs outside of New York. Then, on a windy day she meets an attractive French man and he invites her to his apartment. She blossoms like a spring flower that is being nourished by the sunlight and all the necessary soil nutrients. But, spring flowers are ephemeral and most affairs are fleeting.✨
Life imitates art. Art imitates life. One of Diane Lane’s friends ominously tells…
how can two handsome parents like Diane Lane and Richard Gere have a child as ugly as Dewey in Malcolm?
Having sex at say, age 16, is an actualized excitement like no other because it is in those early days the very act summons a kind of spine-tingling electricity that a few years later is kinda there but has worn off. Rarely does it ever feel the same as it did those first times. Diane Lane must be thinking of that when she decides upon invitation to go up to Spanish Romeo’s artsy-romantic flat (he’s Olivier Martinez, and I want to smack his face out of jealousy); now if she lowers her guard and lets him seduce her will there be a summoning of the kind of spine-tingling electricity that’s been missing since she started her adult life?
As a…
