Rachel Racheras, Hugh Davidson and Larry Dorf pay the head of a commercially trading and formatted female thriller shape.
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The date of posting or broadcasting a series can sometimes give him a little boost. This is the case of the woman who lived in front of the girl at the window, whose arrival on Netflix came to close a particularly morose month, because of a wave of moderately exhilarating productions.
The platform, which does not lack humor (or cynicism, it is according to), proposes with the woman a parody of a film of which she herself assured the diffusion, the woman at the Window (Joe Wright) private room last year due to COVID-19.
But the genealogy of the woman who lived in front of the girl at the window can go back further, until the girl of the train, Polar de Paula Hawkins adapted in 2016 by Tate Taylor, or even to the Gone Girl of Gillian Flynn, carried on the screen in 2014 by David Fincher.
By complexing a traditionally reduced female character in the figure of the fatal woman, Gone Girl opened the way for a new subcategory of Thrillers. But as the genus has become popularized, its variations have ended up frolicing around some recurring reasons: a woman in mourning, borderline and alcoholic, neighbors to the lazy acts, a paranoia sharpened by the suspicious benevolence of His loved ones … and a denouement as unexpected as possible, even completely unlikely if necessary. It is these motives whose woman pays her head, with a very American mind and quite rejoicing.
Interesting critical scope
Especially since the woman in question has the traits of Kristen Bell, Ex-Veronica March returned to light thanks to a handful of comic roles, especially that of Eleanor in The Good Place. The actress pins here the crushed crosses in Anna, painter broken by the death of his daughter and persuaded that his neighbor opposite is an assassin. Between avinated madness and moments of lucidity, Anna crosses in eight very short episodes an intrigue such a thin as a sheet of paper, agreed and absolutely without interest.
Under pure parody, the series mocks – totally first degree – a certain form of literary narration, introspective and tearful, transposed on the screen for reasons more and more often commercial. She manages to do so with some finesse, which makes her no doubt less funny than what we could expect, but gives her interesting critical scope.
For whom will be able to override his vacuite brandy in banner, the woman who lived in front of the girl at the window invites, in a way, to question the formatting of the stories we consume in the chain.
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