Woman Next Door, The

Emotions, there is nothing else in my films. This late Truffaut film seems to be a justification of the director's proclamation about his cinema. When we review the filmography of this most typical but potentially most commercial representative of the New Wave, at the peak of these emotions we will see that the flag of love is flipping, with all its naturalness, complexity, and uniqueness. In The Woman Next Door however, what we have is not a flipping but an explosion. Truffaut tells a love story that's been lived, buried in silence, only to resurface and explode, and while doing this, he enters into the lane of psychological thrillers. We first meet a couple and their children who seem to live a peaceful life in French suburbia. Everything changes with the arrival of new neighbours. Now, The Woman Next Door is an ex-lover, and the old story is not forgotten. They soon start seeing each other, in private, under the shadow of another woman who had jumped out of a window because of heartache. Parties, sex, confessions, depres-sions, hospitalizations, scandals follow each other towards the ultimate destination: tragedy. The film is comprised of breathtaking scenes that blink toward Hitchcock, such as the one in which Fanny Ardant, in her raincoat, takes a stroll around Depardieu's house. Whereas this 'second half' of a love story is a tale of hopelessness, it is told in the style of an "eye-catching confession of love" as a critic once described the films of Truffaut. Truffaut later confessed that during the shooting, some of the crew said that Fanny Ardant was acting as if she was in a film noir, and he knew then that he had to write one for her. Thus, Finally Sunday was born. Tunca Arslan

François Truffaut
Jean Aurel
Suzanne Schiffman

William Lubtchansky

Martine Barraqué

Les Films du Carrosse

Fanny Ardant
Gérard Depardieu
Henri Garcin
Michèle Baumgartner

Georges Delerue

8th Festival on Wheels