The Sunday Woman

The police have the victim, the weapon and the suspect. What they don’t have is the Sunday Woman.

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  The bulk of the film is dedicated to exposing the more unsavory side of its posh, upper-class characters. The setting of the narrative is specified as Turin, but one could argue that the critique of the idle rich could just as easily be applied to other cities and cultures as well. … The violence quota is minimal, but the lurid nature of the initial killing, coupled with a memorable stalking scene that culminates in another burst of off-screen violence later in the film, helps to keep it rooted in the [giallo] genre. … The comedy of (bad) manners is just light enough, while the seedier elements of the scenario are dealt with in a matter-of-fact fashion. The film therefore avoids the more leering, sensationalized approach of other gialli while also working as an engaging character piece with a comedic bent. Technically, the film is polished throughout. … The characterizations are rich and well delineated and the movie benefits immensely from an excellent cast.