The Sunday Woman

In the elegant yet shadowed streets of Turin, a baffling homicide draws the city’s elite into the orbit of a police investigation that feels as much a social tableau as a crime scene. The authorities have assembled the usual pieces—a victim, a weapon, a suspect—but a mysterious figure known only as the “Sunday Woman” remains frustratingly out of reach. The case pulls the police into the world of high society, where genteel facades conceal unspoken ambitions and hidden rivalries, setting a tone that balances polished sophistication with an undercurrent of intrigue.

At the centre of the inquiry is Inspector Santamaria, the seasoned head of the homicide squad, whose methodical approach is tested by the flamboyant glamour of Turin’s upper class. His investigation leads him to Anna Carla Dosio, a restless wife whose marriage to a frequently absent businessman grants her both privilege and a lingering sense of ennui. She offers his cooperation, and an unexpected personal attraction begins to simmer between them, blurring the line between professional duty and private desire. Meanwhile, Massimo Campi, a cultured friend of Anna Carla’s, guards his own secret life, and his lover, the young clerk Lello Riviera, pursues an independent lead that adds further complexity to the tangled web of motives and alibis.

The film moves with a measured, almost lyrical pace, allowing the city’s architecture and social rituals to become characters in their own right. A blend of classic noir atmosphere and contemporary social observation creates a mood that is simultaneously intimate and expansive. As the investigation deepens, the elusive “Sunday Woman” looms like a phantom presence, promising that the answers lie not just in the evidence gathered but in the hidden currents that flow beneath Turin’s polished surface. The story invites viewers to linger on the tension between appearance and reality, and to wonder what secrets will finally surface when the city’s elegant mask slips.

Last Updated: December 04, 2025 at 18:11