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We are usually left with a bloody and shallow horror piece devoid of any real sense of dread and that showcase the filming techniques employed and the environments used. If you like horror films or really anything unique and original that keeps you guessing, then this is a great piece of film that is a refreshing change of pace from most modern horror schlock out there. The characters we meet are archetypes, made strange when in service to Amirpour's unique vision. There is Arash , the kid with the vintage car who lives with his heroin-addicted father Hossein . Arash deals drugs, too, as well as taking odd jobs as a gardener on the isolated rich side of town, having a tense flirtation with a rich girl who calls him into her bedroom.
The Girl keeps on stalking the illuminated nights. Arash is staring at one of the street lamps.The Girl skates by but stops in front of him. A drugged Arash asks the Girl where they are, as he got lost. He says that he lives in Bad City, but that this street is not familiar. He stops and asks her why she is in Bad City. Arash tells her to sit down with him on the street.
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In a crime of opportunity, Arash steals a pair of diamond earrings from the wealthy young woman he works for, Shaydah. Hybridity sits at the heart of A Girl Walks Home Alone at Night. Just as the vampire figure occupies a liminal space between life and death, the film, too, exists in a liminal space. The Persian-language film is set in Iran but shot in America. This sense of in-betweenness also manifests in the film’s genre, which borrows from horror, spaghetti Westerns, coming-of-age stories, and even hints of comedy.
If you have a disability and experience difficulty accessing this content, please call the Accessibility Manager at 688–3890 or email A Girl Walks Home Alone at Night, image courtesy of Kino Lorber. Visually and musically a cotton-candy fest. It reminds me atmospherically of spike lee's summer of sam minus the dialogue. Despite it not being wholly solid or a classic it's a fervent reminder of why cinema should NEVER become what hollywood is. Verified reviews are considered more trustworthy by fellow moviegoers.
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Its style is clearly inspired by spaghetti Westerns like those of Sergio Leone, featuring a mysterious, lone, antihero with a vigilante streak. However, the genre is reimagined with a female lead, and is a hybrid spaghetti Western-vampire film. As a vampire film it serves as an homage to its legacy of predecessors especially the 1922 German Expressionist film Nosferatu. Echoes of the film are seen in the choice of shooting in black-and-white, the use of shadows, and the minimal dialogue. The film's dialogue is entirely in Persian, and the film blends elements of Iranian culture with the spaghetti Western-vampire imagery described above. Saeed comes across a strange young woman in a chador at night.
A Girl Walks Home Alone at Night blends conventional elements into something brilliantly original -- and serves as a striking calling card for writer-director Ana Lily Amirpour. Talk pages are where people discuss how to make content on Wikipedia the best that it can be. You can use this page to start a discussion with others about how to improve the "A Girl Walks Home Alone at Night" page. StartThis article has been rated as Start-Class on the project's quality scale.LowThis article has been rated as Low-importance on the project's importance scale. This article is supported by Southern California task force.
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They have sex in the middle of a deserted parking lot. The Girl passes them by without bothering them, but Saeed seems to notice in an unconscious way. The Girl is wearing a hijab veil and silently walks by. This startles Saeed, who pushes Atti out of the car without paying her, telling her to stop crying and calling her a hag. A young woman called Shayday calls Arash in.
When she has finished feeding on him, she stays around some time checking his CD's. Outside, Arash has gone to call on his father's pusher by bicycle, and wants to trade the pair of earrings for his car back. He leaves a message in Saeed's answering machine - which the Girl hears - without knowing that Saeed is already dead. The film opens with a scene of a vast wasteland, Bad City, populated with oil drilling machines and a palpable sense of being a quasi ghost town. Here, Arash a lonely teenager with a drug addicted father who consistently owes money to a dealer, tries his best to make a living working as a gardener for a rich family. Unknown to him, the city is inhabited by a lonely young vampire whose name we never learn.
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We know absolutely nothing about The Girl, but there is a pattern...unlike women in Iran, she has a certain, albeit supernatural power, and she uses it to punish men who have bullied others and wallowed in vices. Even if I'm only reading into this, I thought this was liberating in the context of the culture that's old and rich but traditionally repressive against women. Back home, he takes a glass of water to his father, who tells him that he should die and leave him alone. Arash pets Masuka while the attache and its contents are by its side. Saeed is showing off his car in front of a prostitute called Atti (Mozhan Marnò), who gets into his car.
The film’s American- and Western-ness is further established by the spaghetti Western musical score that plays underneath it all. The score functions as the heartbeat of the film, placing this work firmly in European and Western genre conventions and traditions. Shortly before The Girl appears in the scene, we watch two characters, Saeed and Atti , in a car. Saeed represents the cliché pimp, covered in tasteless tattoos (such as “SEX” across his throat and “jakesh,” or “pimp,” on his scalp). Atti is a prostitute who works for him, the victim of both Saeed and the patriarchal society of Bad City.
It was chosen to show in the "Next" program at the 2014 Sundance Film Festival. And then there is the vampire, known as Girl . The shadows are so pitch-black that she is able to stalk the streets in her full chador practically undetected. She hides almost completely in the liquidy black, revealing herself to her victims from across the wide expanse of vacant lots or abandoned parks.
Atti asks if the Girl is a thief, and she replies "no". A young rockabilly-looking youngster picks up a cat . It is young Arash, , an Iranian young man. On his way back to his car, he is bothered by a begging kid . He is despondent and leaves, claiming to have no money. In the Iranian ghost-town Bad City, a place that reeks of death and loneliness, the townspeople are unaware they are being stalked by a lonesome vampire.
The woman with the chador spends her time listening to music alone in her apartment, skateboarding, or bedeviling pedestrians at night, until she comes across the lost Arash. He shows vulnerability and compassion, and she takes him to her home, where they listen to music, and she resists his exposed neck. They meet the next night, and she says that he does not know the terrible things she has done.
In this way, the film has feminist leanings. Suffering from heroin withdrawal, Hossein has an episode where he believes that Arash's cat is his dead wife. Infuriated by his father, Arash gives him drugs and money and throws him out, telling him to take the cat with him. Hossein goes to Atti and forces her to take heroin with him.
The Girl shows her expensive jewelry and Arash's stolen watch from Saeed. The Girl sits down on a sofa and plays with an apple that Att has given her instead of eating it. Atti assumes that the Girl is a washout person who wants to become a prostitute. The Girl doesn't speak at first, but then she says that Atti doesn't like her job. Atti asks her why she is following her, and the Girl replies that she knows everything about her and that Atti doesn't know what she wants anymore, and that she can't even remember really wanting something. The Girl says that Atti is saving money but doesn't know what she wants it for.
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