Iranian FF review - A GIRL WALKS HOME ALONE AT NIGHT by Ana Lily Amirpour

Hipster stylisation is what it's all about in the groovy, sexy and cool Iranian vampire western with feminist influences. The film is called A Girl Walks Home Alone at Night, it's directed by Ana Lily Amirpour and it was the opening film of this year's Iranian Film Festival in Prague.
 
There is no denying that A Girl Walks Home Alone at Night somewhat dominated the interest of film journalist with a particular interest in world arthouse cinema. As far as post modernism goes, we as audiences or critics or people in general, are used to seeing vampires used in horror films that somewhat stretch the defined boundaries of horror per sè, that were perhaps laid down in the earliest days of cinema and certainly in the thirties - a defining age of horror in general. You do not expect, however, that a film as such would be set in Iran. But, hey, don't get too excited because this is an American production. And make no mistake about it, most cast, crew and producers are also from the States.
 
To its credit, the film is directed by Ana Lily Amirpour, who based her feature debut on a short film that garnered attention by winning the 2012 Noor Iranian Film Festival, which had the same name. That might explain why the film has virtually no driving force behind it. The mystery of the why's, where's and who's are so stretched out throughout the film that its enigmatic nature is completely lost in what can only be described as a weak and superficial movie. There is simply no dramatic force behind it, therefore there is an automatic accentuation of a metaphor of addiction that probably strips the significance out of more daring contextualisations and subtexts - such as, for instance, the one of feminism. Which is, let's be honest, rather disappointing for a film that is billed as a feminist vampire movie, a shift away from the "lesbian vampire" characters of exploitation films. 
A Girl Walks Home Alone at Night is all about embellishment. It is a frame of a good film. No one can deny the excitement of the opening sequences, the excellent work of photography and lighting that treasures the purposeful stylisation of the movie. Even the casting of Iranian hotties is suited to the overall visual appeal. Arash Arandi is a James Dean like troubled and sensitive soul. Sheila Vand - simply billed as The Girl, much like Clint Eastwood had no name in the Dollars Trilogy - is a hipster semi-goth icon ala Asia Argento or Winona Ryder. It is their romance that creates the central narrative of the film. But the whole this is embellished that there is no genuine sentiment, but sheer post modernist stylisation. And in this approach, we can include the silences - where the lack of focus and lack of power really become frustrating particularly in its second part - and the sountrack with the famous wailing sounds of Morricone like scores mixed with indie rock records.
 
In all honesty, A Girl Walks Home Alone is a flash in the pan. It's a cool looking film still to share on your Facebook wall. It is a hint to something much more clever, but alas it's simply not enough to make one of your characters a vampire to automatically be interesting or clever. If you want a cheesier yet satisfying romantic vampire movie with a strong female character, Near Dark might still be the underrated film you are looking for. But if you are content with letting yourself be carried by style over substance, feel free to enjoy the novelty of this film. And after all, that is exactly what is going to make it so popular and by all means even influential.