"Infidèles" @ identiT Festival/Paris

(Pictures by Myriam)

"- Your movie is really beautiful, I'm so moved... And that's true, it's not about sex, it's about something way more important, a word not said in the movie: sensitivity!
- Actually, he said it on the couch and when they tickle each other...
- Yes, indeed."

"- How did you learn to make a movie?
- I took a piece of paper and a pen and I pressed pause on every single seconds of films I found interesting."

"- It's gorgeous, thank you.
- Thank you for saying that."

"- How could we see it again?"

"- Deluding people in cinema, it's like likeness in figurative art. I wanted to give enough space to the viewer for him to raise questions, even if it meant giving him enough time to realize he dislikes the movie."

"- Are you an actor?
- I've learned a bunch of stuff..."

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a review of Unfaithful

Queer-o-mat tell us about the screening @ PFF:

Der Abschlussfilm, ein schwuler Porno und doch wieder keiner. Der Filmemacher Claude Pérès fragt Marcel Schlutt: „Ich will einen Film über das Verlangen machen…. Ich bitte Dich darum, mit mir Sex zu haben“. Vorwiegend „männliche“ Besucher_innen strömten in den Kinosaal und leider mit der Zeit in Scharen wieder hinaus. Was war der Grund? Zu wenig Sex, würde ich sagen. Der Film begleitet die Begegnung zwischen Claude und Marcel, die neben dem „Wunsch“ nach Sex miteinander, letztlich mehr reden. Der Beginn des Filmes liegt zudem im Dunkeln, da nichts auf der Leinwand zu sehen und lediglich die Erregung zu hören ist. Nach dem abrupten Ende des ersten Versuches, wird es nun „heller“ im Film. Es wird gefrühstückt, geredet, kleine Experimente mit der Kamera (zunächst soll sich Marcel Schlutt selbst befriedigen, danach werden die Rollen getauscht) und irgendwann der wahrscheinlich von vielen Besucher_innen ersehnte Sex. Leider waren zu diesem Zeitpunkt bereits 2/3 gegangen. Um den Film zu resümieren, lässt sich sagen, dass eben weil er nicht nur zeigt, sondern vieles andeutet und in seiner Stille sehr laut ist, er sehr sehenswert ist.

[The closing film, a gay porn and yet not a gay porn. The filmmaker Claude Pérès asks Marcel Schlutt: "I want to make a film about the desire .... I want you to have sex with me. " Unfortunately the predominantly "male" audience went out the theater during the screening. What was the reason? Not enough sex, I would say. The film follows the meeting between Claude and Marcel, it goes through "desire" and sex and talks. The beginning of the film also happens in the dark, because nothing is shown on the screen and the excitement is only to the ear. Following the abrupt end of the first experiment, it is now "lighter" in the film. It is breakfast, talk, small experimenting with the camera (Marcel Schlutt satisfies himself, then the roles are exchanged), and what was probably expected by many viewers: Sex. Unfortunately 2/3 of them were gone by that time.
To sum up the movie, we can say that because it not only shows, but also hints, and in his silence is very loud, it is well worth seeing.]

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Trailer #4 by zacchioO

To introduce himself, zacchioO nicely says that "reaching my forties, I accept the few I am. Failures made me humble and this humility leads me to make new personal and professional choices, after having enjoyed so much being a project manager."

About his trailer, he said : "I thought about a trailer not getting to far from the script of the movie, even though I took the risk of being unfaithful to it. At the end of the day, I expressed my own sensitivity and my need of tenderness in my way of conceiving this trailer."



"Infidèles" in Paris 12/12/09

"The counter-culture meetings: In the same vein as Morrissey and Breillat, Claude Pérès invite us in a sexually explicit "huis-clos", questioning the relationship between actor and director, through power and desire"
facebook event


note to self #10

< style = "color: # 000000 ;">Shit, when I look at the pictures of me during the shooting, I look like I'm close to fall apart, don't I?< /h2>

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Unfaithful: world premiere @ PFF/Berlin

Departures... (© claude pérès)
Berlin airport (© claude pérès)

Moviemento Kino (Germany's oldest cinema) (© myriam)

claude pérès & marcel schlutt before the screening (© myriam)

natal before the screening (© myriam)

the screening (© myriam)

natal haziza, claude pérès, marcel schlutt & jürgen brüning (PFF director, Bruce LaBruce's producer) during the Q&A (© myriam)

natal haziza, claude pérès & marcel schlutt (© myriam)

natal haziza, claude pérès, marcel schlutt & jürgen brüning (© myriam)

natal haziza, claude pérès, marcel schlutt & jürgen brüning (© myriam)

@ the airport (© claude pérès)

@ the airport (© claude pérès)

News from the World Premiere in Berlin:
- one quarter of the audience was expecting porn and was very disappointed
- one quarter couldn't bear the calm and minimalist rhythm of the movie
- half of the audience was thrilled

conclusion: we shook that audience!

Google request: "claude peres unfaithful bootleg"

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Du & Ich presents Unfaithful

[The number one erotic star Marcel Schlutt was invited by the director Claude Pérès to spend the night for his movie "Unfaithful". They don't know each other. They are alone, only a camera witnesses. Desire comes from those two strangers. Does it disturb what is going on or does it respect it? Does it reach the experimentation or does it confuse the sense? The thrilling film experiment of Claude Pérès played 98 minutes long with our reception and question our our viewing and listening habits. Sometimes we are voyeur, sometimes we are only listener in the dark. What about porn, if you don't see? The best films are only in your head? Maybe. A successful attempt of irritation. (fh)]


Trailer #3 by Jean-Marie Potiez

Jean-Marie Potiez (aka JMP) lives in Paris. Make-up artist for 15 years, he is also graphic designer and stage director.

Few words about his trailer:" Very cool to give people the opportunity to be a part of the making of the trailer! I enjoyed making it, besides those excerpts really make me want to see the whole movie!

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Unfaithful @ Berlin 10/25/09

"Ein Regisseur, ein Schauspieler, eine Nacht, eine Wohnung, ein Projekt: „Ich will einen Film über das Verlangen machen … Ich bitte Dich darum, mit mir Sex zu haben“. Ausgehend von dieser Ansage schafft es Regisseur Claude Pérès, einen knisternden und unglaublich erregenden Film zu machen. „Unfaithful“ ist für den Zuschauer Vorspiel und Höhepunkt zugleich, ein ständiger Wechsel von Kopfporno und Hardcore, von Andeuten und Zeigen. Pérès lässt dem Betrachter immer genügend Raum für eigene Fantasien und erlaubt ihm zugleich explizite Einblicke. Der körperlichen Dimension sind Gespräche gegenüber gestellt, in denen die beiden sich verbal den Themen Verlangen, Sehnsucht, Liebe und Sex nähern. So entsteht eine intime und ebenso kluge wie erotische Studie über Grundprinzipien der Lust."

["One director,one actor,one night,one flat,one project: “I want to make a movie about desire ...I’m asking you to have sex with me“. It just takes this announcement from director Claude Pérès to create an unbelievably thrilling movie.“Unfaithful“ changes from mental porn to hardcore, alternates between teasing and showing. An as much smart as sexy approach to define desire. "]

Screening of Unfaithful: PFF @ Berlin on October, the 25th, at 6pm (info here).


goodies & baddies




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LivE BlogGiNg: a caSUAl dAy oF tHe edITInG



QOTV talk about Unfaithful

Queers on the Verge chose to launch the beta version of their website with our trailer...
We wish them good luck!

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SavE thE DatE! LiVE blogGiNg on mONDay

LivE BLogGIng ON monDaY : OnE daY BehiND ThE EditINg.

Follow one day of the editing of Unfaithful. (It might be fun!)



note to self #7

< style = "color: # 000000 ;">" font - weight: bold; " never say everything is political in cinema, the topic, the point of view, the making of it itself to begin with.

[I said never]< /h2>

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Poll #4: Posters

The poll is closed. Here are your vote:

Google Request: "how does unfaithful end".

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note to self #6

< style = "color: # 000000 ;">Glad to have shot a boner as a reaction of the body, like sweat, tears, laugh... rather than an intention of the mind.

[no really]< /h2>

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Poll #3: Faithful

The poll is closed. Here are your votes :

Google Request : "Do they really have sex in the film Unfaithful?"

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Ray Avito talks about Unfaithful

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Finished off

I poked around everywhere with my recorder. I recorded the sound of the wind in the trees, the storm, people crisscrossing the streets. I recorded birds. I stuck a microphone to my chest to get my heartbeat, hoping I wouldn't find any weird noise. I recorded music too, guitar, accordion, violin, drums.

I was thrilled by the music coming from the street. When you hear a violin yelling through the sound of people steps and voices, you are led to figure out someone playing this violin. It is so more alive. I didn't expect such feelings. That's why I kept a recording more poor, rather than a technically perfect one I had, which sounded lifeless, like a disc.

I added Lydia Lunch's music on the timeline. I did a bunch of settings. And "voilà": a version of this film is done. The work is finished off, or I am, I'm not sure...

This moment is weird: the huge task is over, but nobody gave a look at your movie yet. It has not been received nor judged. It's still completely yours. Shall I show it at all?

The poster would go like this, what do you think?



note to self #5

< style = "color: # 000000 ;">read this: & quot; love is a joint experience between two persons -- but the fact that it is a joint experience does not mean that it is a similar experience to the two people involved.& quot;

[The Ballad of the Sad Café, by Carson McCullers]< /h2>

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About the sound editing

I meet someone from acousmatic music. He will surely have interesting things to say about my work on the sound.

I look at him. I'm not sure whether he's not quite awake or not comfortable. He hesitates a long time about where he prefers to sit. I settle his question: "Here is a good spot, isn't it? . He sits.

He makes you want to shake him or to leave him alone, to say nothing at all and to move very slowly, since he seems so easily disturbed by the slightest thing. It's moving. It doesn't help the dialogue. I guess people must feel the same when they meet me. Now I picture it. I smile.

I tell him the plot of the film. I mention, probably still not to rush him, that it is not at all provocative. He replied: "Yes, but it's radical, that's great."

Then I talk about my ideas on the sound. I tell him that I don't appreciate the way people usually use the soundtrack on the movies, which is often quite moronic. There they go again with their violins when it's sad or make noise machine when it's scary ... I do not necessarily want to tell the viewer what to think of the film.

I tell him I want to use real noise from the street, the weather, the birds ... He breaks me off with his eyes screwed up by his smile: "that's the origins of music, calling to mind the storm , the songs of birds .... "

I explain that I want to go with what is happening, reinforce the rhythm, but I also don't want the sound to stick to the images. I say that sometimes only the sound gives the information in the film, while we don't know what happens on the image.

He listens carefully. He often agrees with me, even if things I say contradicts each other. I guess he must be a bit intimidated.

Then he asks technical questions, how I record this noise, how I edit it... He gives me advice and offers me his help.

I ask him what he's working on and how he proceeds. I listen. I smile. I would be curious to hear it.

It is time to go. I tell him he looks more awake than before. He smiles. We say we meet again soon.


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Portrait: Lydia Lunch

Photo by Dave Naz
Lydia Lunch is an American singer, poet, writer and actress.

Muse of the New York's No Wave movement, she acted in, wrote, and directed underground films (including the powerful visual poem The right side of my brain, directed by Richard Kern).

She wrote and composed about 30 albums. Hailed by the Boston Phoenix as "one of the 10 most influential performers of the '90s", her solo career featured collaborations with musicians such as Sonic Youth and Nick Cave.

Lately, she was invited by Asia Argento to operate as official still photographer on The Heart Is Deceitful Above All Things and narrated Cam Archer's award winning American Fame part 1 and 2.

She undertakes repeated tours of Europe and the U.S.

She wrote and composed the music in Unfaithful.




Trailer #2 by Patrick McPheron

Patrick McPheron made his own trailer of Unfaithful.

To introduce himself, he says in few words: "I am a 28 year old graphic designer living in Los Angeles, California.

I love to paint, edit, cut, create, erase, redo, recover, manipulate, makeover and mash-up in all media.

I love horror movies from the 1970s, art nouveau, and old empty houses.

My website
promotes what my brain comes up with."


Patrick's words about his trailer: "I went for something subtle, sexy, and mysterious for the trailer and added some very simple musical notes to the piece to help give it a little something extra. I hope you enjoy it!"

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Trailer #1 by Matteo Duranti

Matteo Duranti made his own trailer of Unfaithful.

Matteo Duranti
/ filmmaker / born on a Monday in 1980

Matteo Duranti made his filmmaker debut in 2006 with "THE CATALOGUE".
The video was immediately chosen by MTV Italy's experimental channel FLUX (now QOOB) for tv broadcast, and was later screened in 2008 at the Kitsune Maison Tour date in London together with "THE CATALOGUE v2.0" (2007).

In 2007 he directed the short movies "Demodulation" and "Ein Sommernachtstraum": these are the first two chapter in his Spanish trilogy (yet to be completed).

In 2008 Matteo and painter Cristiano Carotti joined forces to create "WHERE IS THE RAINBOW", a 30 minute surreal pop drama about the end of the world. The movie will be released in Fall 2009.

His few words on his trailer : "I really love the project, and it was a real honor for me to have the chance to make this trailer."


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snuffboxfilms talks about Unfaithful

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I would like to make an offer : I would like you to propose your trailer of the film Unfaithful.

Creative tools (excerpts, interviews, photos, synopsis…) can be downloaded on www.unfaithful-themovie.com

It is open to everybody.

The director of the chosen trailer will receive a HD camcorder and will join the crew of Unfaithful.

Three trailers will be picked up for DVD extras.

Upload it on youtube or dailymotion and send us your email with a note to introduce you (postmaster[at]unfaithful-themovie.com).

INFO: www.unfaithful-themovie.com



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note to self #4

< style = "color: # 000000 ;">something weird is happening now I'm done with the editing: all the emotions I cooled off to keep focused on the movie are now overwhelming me.< /h2>

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wayoutwest.tv talks about Unfaithful

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Poll #3: Cinema vs Entertainment

The poll is closed. Here are your votes :

Google request: "فيلم unfaithful".

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The editing is done

The editing of the movie is done. I did it a third time. The task seemed so huge. But all the pieces match now.

I did not sleep those last weeks. I did not go out also. I drew and put together my strength. Voilà.

This is funny how things happened. I would have been sure most of them were not meant to happen if I had thought about it a priori, on paper as they say.

First of all, this whole experience of facing the desire, the other one and reality. But this is the plot of the movie, you will see.

But I'm talking technically. For example, before making the film, I hated those long establishing shots. I never thought making a film in which the camera did not move all the time to get every single detail. And truth to be told, the idea of this film made with a bunch of those shots bothered me. I rejected it as much as I could. It is very funny to think about it now. I watch these shots, their strength, how they allow to catch very subtle things and how they are delicate. I have come to the point where I threw a lot of close-ups away to keep only those shots I did not want to record at first.

I think a film is a portrait of the person you're shooting. I could have made a self portrait, it did not happen in my mind. I threw away all the shots where I looked smart or pretty. I was the first to get bored watching them. I have not made a film to flatter me. I am not saying that I would not make that kind of movie one day ... lol So, I appear in this film by accident.

But this film, I think, is also a beautiful portrait of Marcel, who appears as no one has ever seen before.

I have made up many aftermaths in the movie, those moments when the actors and the viewer take the time to let things happen. At a time when they are avoided because of the fear of down or idle time, this is undoubtedly the most radical choice I did, the one I'm not sure it will be ok. Yet how to get the small details, this mood coming and going in a few seconds, other than taking the time to let them come?

The editing is ended. I have a few small details to resolve, I think I keep these details not to pull myself away from the movie too fast. There is still the sound to work on. It will take me a few days. But the most of the movie is done.

I do not know if I am relieved, satisfied or lost. I think I'm rather overexcited.

I'll show you a trailer pretty soon ...


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note to self #3

< style = "color: # 000000 ;">Remind myself to claim once and for all that: " font - weight: bold; " I do not believe in desire.

[could be relevant concerning a movie about desire]< /h2>

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Impression of the first viewer

Natal is the first viewer of Unfaithful. She watched a draft version and gives us her impressions in this text she wrote:

"Claude has successfully saved a first version of Unfaithful on a usb stick.

He gave it to me at the café "the ant".

He warned me: the image is tiny and it is too long.

I waited a few days. Then I opened the file: oh yes it is very small... I launched it and I watched.

Almost two hours later I stood before this small black window. The last scene is incredible.

I looked into it. I needed time to understand all the hazards and the traps avoided in this movie.

What I just watched does not look like anything I've seen before.

The intimacy is obvious. It comes from several factors that Claude has established. We talked about some of them together.

From the beginning, he invites us to participate in this quite confusing experiment, when he claims: "I ask you to have sex with me"...

He handles his power as director with delicacy and carefulness and reduces it.
First, he speaks softly to the actor and frequently asks if he's fine as if he was asking "do we go on?".
And he seems to mind what he shows when he moves his camera, as if he was checking if the viewer is well seated.

We do not feel like voyeurs ready to watch two dudes fucking. We are identified and invited as witnesses who almost act on the scenes by our presence.

The small disturbances he organizes, without aggression, question about what is currently happening, what is true, what is made up. He plays and make us play.

As privacy grows between those two characters, an intimacy is created between us and them.
We are connected to this experiment, we are part of it.

All of this, among other things, builds confidence in this trio, this almost "ménage à trois".

There is also intimacy of the bodies as they strip, get dressed, strip again.
The desire is expressed through the Nudes without hiding, sometimes despite themselves. They come to contradict the lines or to improve them. They have their own
language ready to betray or exceed words. I understand what sex allows here.

I do not want to reveal too much what happens, but I wonder what Claude is going to cut.



Google request: "best blowjob in mainstream movie"

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note to self #2

< style = "color: # 000000 ;">Should consider the idea of stopping acting like a smart ass.

Should consider the idea of starting acting more like a smart ass.

< /h2>

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not inspired for a title

I'm ending the editing. I take every single scene and make sure everything is at its best. When I'm done with a shot, I know I will never work on it anymore.

This is a very meticulous and silent work. It should be suggested as a meditation exercise ;-)

Some people begin to be scared that I will never go through this. I know they're wrong. I actually feel how I move on with this. Don't worry.

I can't tell how the whole film looks like. This is the weird part of it: you never actually see your own work as you never actually see your own face. This is something getting away from you.

Truth to be told, from the beginning, I'm waiting for someone or something to prove me wrong with this project and to prevent me to make a mistake. I even was pretty sure that I will figure it out by myself, watch the images and face the mistake I made. But no. Each time I looked into this, after having a break or having spaced out, the images, the scenes, what is happening before me convince me that it had to be done.

I send you some stolen snapshots, voilà:

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