Once viewers get past “The Woman in the House Across the Street from the Girl in the Window’s” incredibly long title, they can enjoy Kristen Bell (“Bad Moms”) delivering a stunning performance as Anna, a former painter struggling with grief in the middle of a murder mystery. Or is she? 

Convinced she has witnessed a murder from her living room window, Anna starts her own investigation, as no one around seems to believe her. Plagued by ombrophobia (fear of rain) and powered by mixing pills with wine, she presses on with the memory of her deceased daughter haunting her. 

The 8-episode miniseries combines satire and mystery with a dash of thriller and some dark comedy. Supposedly, this show parodies films in the ‘mystery psychological thriller’ genre, but the story is so captivating that viewers may not notice. Fans of “Shutter Island” or “Fractured” (2019) may enjoy this fresh piece from Netflix. 

“The Woman in the House Across the Street from the Girl in the Window” takes place in a squeaky suburban town called Canterbury Hill, and with that squeaky town comes all the tried-and-true character tropes. Carol (Brenda Koo, “The Bling Ring”) is a nosey neighbor and Anna’s frenemy. Koo’s portrayal is very convincing, making it easy for the audience to hate her. Her character does not have too many layers, but that is okay, she does not need them. Sloane (Mary Holland, “Happiest Season”) is Anna’s best friend who always manages to appear at just the right time and offer some comedic relief. She executes a delightful performance as someone who understands Anna’s journey through loss and consistently supports her through it. Buell (Cameron Britton, “Mindhunter”) is the gentle giant handyman perpetually fixing Anna’s mailbox. He is rather lovable and offers some cushioning amidst the winding storyline. Neil (Tom Riley, “The Nevers”) is the handsome man who just moved in across the street with his young daughter, and is the object of Anna’s affection. Their performances were genuine, and the names of the characters were not too plain; how often do we see characters named Sloane and Buell? 

As for aesthetics, the wardrobe was excellent and did a great job of matching the personalities of the cast as well as the gorgeous scenery throughout the series. The cinematography deserves praise in every setting, masterfully bending deep blues and bright greens around the story. It is clear the designers wanted to reflect Anna is an artist, as is Sloane who dresses colorfully yet smart. The most enjoyable thing about this show is not its elements of satire or parody, but rather how its creators Rachel Ramras, Hugh Davidson and Larry Dorf, (“Nobodies”) managed to craft a storyline with enough twists and turns that the audience would forget how it was meant to rip off existing media. 

Save for the casserole dish bit. Anna’s navigation of life indoors and around people who just do not get it will likely strike a chord with nearly anyone, reminiscent of how early lockdowns felt. The music and sound used in the show makes it all the more intense, and you will find yourself gripping the couch for dear life as the plot contorts and deepens on screen. Though the episodes are only 25 minutes each, it feels like they last much longer. The show does not seem to fall flat in any area, and pays incredible attention to detail. Let us hope Netflix keeps this run-on sentence running.

Image from Netflix via YouTube