Keith was not very impressed with this film and some of his observations in the previous post seem justified. Overall though I think he’s being a bit harsh on the young Iranian-American writer-director Ana Lily Amirpour (who was born in Margate, going to the US as a small child). I was going to just add a comment but I think that there is quite a lot to say.
First, this isn’t a ‘Hollywood’ film – in many ways it is almost the definitive American ‘indie’ film, developed from an earlier short (that was shown in Iran, I think). Second, I have to disagree with Keith about the location. If I understand him correctly, he says the setting could be like downtown Detroit (tying in with a reference to Jarmusch’s recent Only Lovers Left Alive (2013)). I agree on Jarmusch (but with reference to his early black and white features) but the setting of Amirpour’s film is very distinctive. The fictional location is ‘Bad City’ in Iran but it was shot in the small town of Taft in the Californian oilfields. Amirpour went to school in the nearest large town of Bakersfield. There are two specific ways in which the location contributes to the meaning of the filmic narrative space. The ‘nodding donkeys’ or ‘pumpjacks’ that litter the oilfield appear several times and are perhaps an ironic reference to Iranian oil. The ‘cowboy’ mystique is visually signified by a woman dancing and wearing a classic cowboy shirt, but it is also signified by some of the music (three or four tracks by Federale) which in turn refers to spaghetti Westerns and is ‘Tarantinoesque’. (Country music fans will also know that the ‘Bakersfield sound’ of Buck Owens and Merle Haggard represented an alternative to Nashville in the 1960s and 1970s, replacing syrupy strings with twangin’ guitars.)
I’m probably pushing this too much but I’d also connect the James Dean look of the lead male character with his 1957 convertible to Dean’s appearance in a film like Giant (1956) (i.e in the oilfields), though his white tee-shirt and leather jacket suggest Rebel Without a Cause. Keith’s right of course that the whole film is more about style than narrative drive. I felt compelled by the style to think of other films – A Touch of Evil (1957) for instance, or, in the closing scenes with the headlights on the road, Kiss Me Deadly (1955). Keith mentions Persepolis (France/US 2007) which makes sense as the Ana Lily Amirpour orginally wrote the story as a graphic novel. Sin City (US 2005) would be another possible reference point as a noirish graphic novel adaptation.
What there is of narrative development seems to take a great deal from Let the Right One In (Sweden 2008) or, as Mark Kermode suggests, from Near Dark (US 1987). In terms of building a story A Girl Walks Home Alone at Night doesn’t use these influences particularly well, but in its slow, mesmeric way it creates relationships and images which certainly resonated with me long after the film was over. I thought that Sheila Vand who plays the title role was particularly good and the concept of a vampire clad in a chador skateboarding down the road is sheer genius. In her room the girl plays 1980s music. In various YouTube clips the director explains that the posters in her room were ‘modified’ images of Madonna and the Bee Gees because the budget wouldn’t run to rights for the real posters. This is very much a ‘personal film’ and I recommend the YouTube collection of videos as an interesting set of source materials (check out the various songs as well – the soundtrack of music and effects is one of the strengths of the film and includes Iranian/Middle Eastern rock). Maybe the film is 5-10 minutes too long but the pacing worked for me and I’d recommend giving it a go.
(The entire film is delivered in Farsi – which the director has said she can only write phonetically, making constructing the script difficult. Farsi speakers may find it odd for this reason, but the English subs work well!)
An HD trailer: