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Marion Post (Gena Rowlands) is the kind of woman who might feel qualified to advise the rest of us how to organize our lives by "balancing" the demands of home, job, spouse and friends. She is fearsomely self-contained, well-organized, sane, efficient, and intelligent. She is the head of a university department of philosophy. She is writing a book, and to find a place free of distractions, she rents an office in a downtown building.

Sitting at her desk one day, Marion discovers that she can hear every word of a therapy session taking place in the office of a psychiatrist who has his office next door. And the cries coming in through the grillwork on the wall are the sounds of real emotions that she has put out of her mind for years. They are her nightmares.

During the course of the next few weeks, Marion Post will find the walls of her mind tumbling down. She will discover that she intimidates people, and that they do not love her as much as she thinks, nor trust her to share their secrets. She will find that she knows little about her husband, little about her own emotions, little about why she married this cold, adulterous doctor instead of another man who truly loved her.

I have not said much about the movie's story. I had better not. More than with many thrillers, ANOTHER WOMAN depends upon the audience's gradual discovery of what happens. There are some false alarms along the way.

The patient in the psychiatrist's office (Mia Farrow), pregnant and confused, turns up in the "outside" world of the Rowland's character, and we expect more to come of that meeting than ever does. There is also an actual "another woman" in the film.

If this journey of discovery sounds a little familiar, it is because ANOTHER WOMAN has a great many elements in common with Ingmar Bergman's 'Wild Strawberries'. Woody Allen's film is not a remake of that in any sense, but a meditation on the same theme--the story of a thoughtful person, thoughtfully discovering why she might have benefitted from being a little less thoughtful.