Francois Truffaut’s final film before his untimely death in 1984, Finally Sunday brought he career full circle, revisiting the film noir style of his early movies – like Shoot The Pianist (1960), it’s based on an American pulp thriller (The Long Saturday Night by Charles Williams) and is shot in black-and-white. One of Truffaut’s most purely cinematic films, this wry Hitchcockean thriller sees a wealthy real estate agent (Jean- Louis Trintignant – The Conformist) wanted for the murder of his wife’s lover. But his secretary (the sharp, sexy Fanny Ardant, Truffaut’s then lover) refuses to condemn him so quickly and sets out to investigate the case herself. Framed as a B-movie with classical film noir touches, Finally Sunday transgresses murderer-and-moll-on-the-run convention, with Ardant becoming the leading player in an ever-deepening mystery. It is a fitting epitaph to Truffaut’s celebrated film career.