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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