The importance of unimportance deserving importance, is the unimportance of importance deserving unimportance.Importance is reality. The reality of non-reality deserving reality is the non-reality of reality deserving non-reality.Non-reality is fantasy. The reality of fantasy deserving reality is the fantasy of reality deserving fantasy.The fantasy, of reality deserving fantasy is reality not deserving fantasy. Reality not deserving fantasy is reality being unworthy of fantasy. Reality being unworthy of fantasy is being worthy of fantasy.Being worthy of fantasy is not worthy of fantasy: reality being unworthy of fantasy is unworthy of fantasy.Unworthy of fantasy is not unworthy and not fantasy. Unworthy of fantasy is worthy and reality. Reality being unworthy of fantasy is worthy and reality.Worthy and reality is not reality and reality. Worthy and reality is fantasy and reality. Fantasy and reality is reality being unworthy of fantasy. Reality being unworthy of fantasy is fantasy being worthy of reality - fantasy and reality is fantasy deserving reality.Deserving reality is not deserving and not reality. Deserving reality is fantasy being wrong. The fantasy of fantasy being wrong is the reality of reality being right - the purity of reality being right.Fantasy and reality is the purity of reality being right.The purity of reality is the impurity of fantasy; the impurity of fantasy is a fantasy that's corrupt.Right and wrong is a corrupt fantasy being right.A corrupt fantasy is a corruption that's innocent. A corrupt innocence is an innocent violence. Right and wrong is innocence and violence: innocence and violence is the morality of an innocent violence.An innocent violence is the illusion of violence and the illusion of innocence. An innocent violence is the reality of innocence and the reality of violence. Innocence and violence is the morality of violence and non-violence.Violence and non-violence is the morality of violence and non- violence.Violence is incapacity. Non-violence is capacity. Capacity and incapacity are the morality of capacity and incapacity.Morality is capacity. Capacity and incapacity are the capacity of capacity and incapacity.Ability and inability create ability and inability. Impossibility creates impossibility - possibility doesn't create possibility.The status of morality is preserved, because the privilege of freedom has been restricted to immorality.Morality beats immorality because morality has forfeited its right to freedom

Early on in this movie, there's a storm brewing and when it ends, we're left to consider the sheer devastation that it's left behind. The "storm" in this update of Claude Chabrol's "La Femme Infidele" (1969), takes the form of a steamy affair that so intoxicates a seemingly happily-married woman that she recklessly risks the privileged life that she has with her loving family so that she can indulge in all the excitement, thrills and danger that she experiences in her encounters with a handsome stranger. Despite some moments of guilt that she can't escape, she carries on relentlessly until her husband becomes aware of her betrayal and reacts in a way that neither he nor she could ever have imagined and in so doing, destroys any hope of either of them ever being truly happy again.Connie Sumner (Diane Lane) lives in a riverside mansion in the suburbs of New York City with her caring, good-humoured husband Edward (Richard Gere) and their 8-year-old son Charlie (Erik Per Sullivan). With a wealthy husband (who runs his own business) and a housekeeper, Connie doesn't need to be employed or to be at home too much and so spends her time shopping, socialising and fund-raising for charities. One day, when she's been shopping, she collides with a young man in a Manhattan street and grazes her knee. Because it's very stormy, the taxis are all full and she can't catch a cab to take her home. As the collision had happened just outside his home, Paul Martel (Olivier Martinez) invites her up to his apartment where he makes her a drink and gives her an ice-pack and a Band Aid for her injured knee. Before she leaves, Paul, who's a book dealer, gives Connie a book of poems as a present.Connie finds it difficult to stop thinking about the good-looking young Frenchman who'd been so helpful and friendly during their meeting and so, when she finds his telephone number in her poetry book, she takes the opportunity to get in touch with him and this proves to be her first step on the road to becoming his lover. After they consummate their relationship, Connie feels incredibly exhilarated, turned-on and also rather guilty when she reflects on what's transpired. Inevitably though, Edward notices some changes in her behaviour at home and starts to become suspicious about what's made her become so distracted. He hires a private detective to follow her and is shocked by what the investigation unearths.Edward finds out where Paul lives and goes to see him at his apartment. Their meeting is conducted in a very calm and civilised fashion but during a moment of disorientation that Edward suffers as he consumes vodka and tries to come to terms with what's happened, he loses control for a moment and does something that proves to be absolutely devastating for him, Paul and Connie."Unfaithful" is compelling to watch because it illustrates how a woman who has everything that society deems to be important and desirable (i.e. wealth, a privileged lifestyle and a loving family), is willing to risk everything to satisfy her most basic needs. It's also a cautionary tale about the dreadful consequences that can follow on from adultery, sexual obsession and deceit.Adrian Lyne's treatment of this story lacks the tension, subtlety and sophistication of Claude Chabrol's version and instead focuses more on explicit sex scenes, some top-quality photography and the interesting use of symbolism at various points. Probably though, the movie's strongest feature is its cast and their impressive performances with Diane Lane and Richard Gere both superb in their lead roles and Olivier Martinez very naturally displaying the charm and flirtatiousness that made his character so irresistible to Connie.

Diane Lane really did deserve that academy award nomination for her leading role in this film. She is great here, she's dramatic, deep, and very believable in her role. This movie is well written, and it's well directed also. The plot is intriguing and pulls you in, makes you want to know more. Richard gere is pretty good as well, not as good as Diane, but good none the less. I really enjoyed the script and the well written dialogue between the characters too. The sexual scenes were well choreographed and beautifully shot, they were passionate and well acted. The actor that plays Paul was great too, I really enjoyed his performance here, he was mysterious, sexy, and had a dangerous eerie manner about him. This movie does have its flaws, it's a little too slow in a few parts, but it wasn't overly slow to where I was completely uninterested. This isn't the best erotic thriller ever made, but it is pretty well made, and it's definitely well acted. 7/10 for Unfaithful.

Unfaithful (2002): Dir: Adrian Lyne / Cast: Richard Gere, Diane Lane, Oliver Martinez, Erik Per Sullivan, Michelle Monaghan: Painful yet well crafted film regarding unfaithfulness. Richard Gere and Diane Lane play a married couple whose marriage is threatened when she has an affair with a bookseller played by Oliver Martinez. Predictable and dark especially when murder factors. Even a visit from the police seems recycled and obvious. Adrian Lyne's films often address sexual consequence but the sex scenes seem more as a peep show. Better examples of his work are Indecent Proposal and 9 ½ Weeks but this is not one of his better films thanks to its emphasis on being a peep show. In the first the sexual tension is high but not shown. In the second it is displayed in multiple variety to back its subject matter. Here it just seems like an excuse to place two actors in hot sexual action. Gere and Lane deliver on frustration and guilt despite being props for a dim cliffhanger. Martinez is charming and seductive and ultimately too abrupt. Other roles play for convenience over purpose. As with most Lyne films, this one is well made in terms of locations and lighting but its message might have worked more effectively had the affair been less of a peep show and more about motives and consequence. As a result it is more about steamy sex than the consequences of infidelity. Score: 5 ½ / 10