The Girlfriend: Woman vs. Woman in the Series Based on the Novel of the Same Name

Young Daniel has always had a very close relationship with his mother Laura, to the point that all his past relationships have failed. But this time he assures her that she will like his new girlfriend. The girl in question is Cherry, a real estate agent from humble origins. From the very first moment, there is bad blood between the two, and Laura begins to suspect something about the newcomer.

From the moment Cherry enters the elegant Sanderson villa, the tension between the two women increases day by day. Laura, who manages an art gallery, discovers that the potential future daughter-in-law is hiding several secrets and tries to warn her son, who seems insensitive to her warnings, so blinded by passion. But the mother herself also shows increasingly ambiguous and oppressive behaviors, ultimately dragging Daniel into a complicated situation where he is the true victim.

From Pages to Screen

An adaptation of Michelle Frances' 2018 novel of the same name, distributed in Italy by Editrice Nord, The Girlfriend divides each episode into two distinct parts, showing the points of view of the two contenders, who often revisit the same events, offering their version of the story. The story thus gains more nuances and allows for better management of the numerous plot twists, effectively playing on the madness of both protagonists, each grappling with their own dark side that will soon manifest as the season progresses. Six episodes with a clear conclusion, leaving no room for further continuations but closing the circle with a sense of deep bitterness, an ideal epilogue for a story where even naivety unfortunately becomes a fault.

The very complex bond, bordering on incestuous urges, that ties Laura to her son is equally counterbalanced by Cherry's declared madness, whose stalker-like behaviors are already amply shown in the first episode. Thus, it becomes difficult for the viewer to take sides with one or the other, as both rivals are anything but examples of morality.

Clash of Titans

In this dispute of lies and assorted nastiness, the role of the actresses is fundamental, capable of making such repellent figures appealing. Olivia Cooke, now a key face in contemporary seriality - from Bates Motel to House of the Dragon and beyond - is perfect in the role of a social climber with a persecutory nature, while Robin Wright embodies with deep humanity the negative sides of a mother who has made many mistakes in the past. The series also boasts her signature in the director's chair, an experience not new to her: in this regard, we recommend you check out her intense introspective drama Land (2021).

While the script is at times sharp and satirical enough, with dirty tricks ranging from the grotesque to more cunning solutions, verisimilitude risks being lost in certain passages. In particular, what happens in the second half of the season, with the world of social networks and the internet opening all doors, seems hardly credible. A sensation further emphasized by the fact that, when useful to the predetermined narrative, the world of the web is instead exploited with shrewd perfidy to demolish the opponent's public image.

In this game of roles, where the female universe becomes a theater of cruelty and rivalry, men are effectively relegated to the background, starting with Daniel himself, who finds himself unwittingly tossed between two psychopaths and no longer knows whom to believe. A well-considered choice for a series that relies on its irresistible coolness, capable of covering even the improbabilities of a story that revels in its tense soul, even at the cost of sacrificing realism.