A Girl Walks Home Alone at Night


Drama / Horror

Rotten Tomatoes Critics - Certified Fresh 96%
Rotten Tomatoes Audience - Upright 75%
IMDb Rating 7 10 28,327


Downloaded times
May 11, 2020


Marshall Manesh as Davidia Sikand
Mozhan Marnò as Atti 'The Prostitute'
Pej Vahdat as DJ Porno
Sheila Vand as Mina
720p.BLU 1080p.BLU
924.98 MB
Persian 2.0
23.976 fps
101 min
P/S N/A / N/A
1.86 GB
Persian 2.0
23.976 fps
101 min
P/S N/A / N/A

Movie Reviews

Reviewed by ferguson-6 7 / 10 / 10

Be a Good Boy

Greetings again from the darkness. This is my third "first feature" from a writer/director this week, but there endeth any similarities. Ana Lily Amirpour presents the first ever Iranian romantic vampire thriller that blends the styles of Spaghetti Westerns, graphic novels and 1950's rebel flicks, while making a social statement regarding Muslim women. This festival favorite is an expanded version of Ms. Amirpour's 2011 short film of the same title, and the use of black and white, combined with cinematographer Lyle Vincent's extraordinary photography, delivers a beautifully stark dream-like atmosphere that lends itself well to the sparse dialogue approach. Despite minimal conversation, we quickly recognize Saeed (Dominic Rains) as the ultra-arrogant drug dealer and bullying pimp, Arash (Arash Marandi) as the hard-working dutiful nice guy who sees himself as a would-be James Dean, Hossein (Marshall Manash) as the drug-addicted dad who burdens his son, and Atti (Mozhan Marno) as the aging, powerless prostitute with little hope. There is even the street boy (Milad Eghbali) who sees all and says little … and is the target of the film's most terrifying scene (and maybe one of the most terrifying bloodless scenes of any horror film). What really stands out about this low-budget gem is the seamless and effective mixing of genres. In addition to the "vampire" moments, there are a couple of the most quietly erotic scenes that I can recall (including an ear-piercing), and even a quite humorous scene with an under-the-influence Arash mesmerized by a lamp post while wearing a Dracula costume and being observed by a real vampire. The vampire is played perfectly by Sheila Vand, whose intoxicating eyes and subtle facial gestures convey all whether she is feeding her appetite, being gently seduced by Arash, or slowly coasting on her skateboard. Her only time to unleash pent-up emotions is the previously mentioned scene when she warns "Be a good boy". Otherwise, she is the lonesome vampire in search of connection who periodically weeds out the bad men – simultaneously improving society and empowering women. It's an odd production as the characters speak Farsi, but filming took place outside Bakersfield, California in a locale that fits the story town's name, Bad City. Any influence of Iranian culture is only evident through interpretation and the excellent cast. The beautiful camera work is complemented by an outstanding and unusual soundtrack … a combination that proves Ms. Amirpour's eye and feel for storytelling. The minimal dialogue approach is successful thanks to the atmospheric style and the talents of the cast (many of whom will be familiar to American TV and film audiences). It's an exciting first feature and has many anxiously awaiting the next project from Ana Lily Amirpour.

Reviewed by mmobini 8 / 10 / 10

Style over substance

Within the first 2 min of this film, anyone with any level of knowledge on cinema can admit to the film's "uniqueness" in style, looks and the neo-genre it is trying to create from the ashes of genres such as western and vampire. That much is evident right off the bat. and it summarizes the overwhelming high praises it is receiving in the festival world. This powerful revelation leaves you in anxious excitement to want to see and know where this journey is taking you and how it will leave you. The story happens in an imaginary city in Iran called "bad city". A very 'sin city' like atmosphere where basic human values have vanished and what is ruling this land is money, corruption, extreme misogyny and LOTS OF OIL. As a matter of fact, oil refineries seem to be the only legit functioning industry within this very bad city. One can only guess where the oil money is going to and how it is being spent judging from the state the city is in. The glorious black and white cinematography paints a very dark atmosphere that quite effectively suits the characters, storyline and the location. Almost every shot was carefully composed to the point that you'd want to pause the film to appreciate them to the fullest. The most important and powerful aspect of the film, besides its brilliant cinematography, is the vampire character: both in substance and style. Taking in the fact that chador, a tool of female oppression, is used as the vampire's cape took a while to sink in. the juxtaposition of both of those concepts, oppression and domination, made the character mysterious, powerful and quite fascinating to watch. Sheila Vand is very effective as the vampire as well. She wears a cold, inhuman and aloof face yet there is so much sympathy and curiosity within her. She hit both spectrum quite well. There is an iconic tracking scene of the vampire skateboarding on the road which cinematically is one that will always stay with me. It was purely magical. The vampire is out to get justice for all the women that are being harmed by the patriarchal system they find themselves in. in a creepy scene, she stalks an old man on the empty streets of bad city. The reversal of roles here hits the right note and it acts as very competent punch line that sets the tone for the whole film. In the end, A Girl Walks Home Alone at Night is in the simplest of terms "Style over substance". The film sets up a brilliant and for lack of a better word "unique" platform to explore the unexplored and to say the unsaid. However, It sadly leaves a lot more to be desired. Most of the scenes drag on for too long. If done right, silences within scenes could be a powerful tool to assert things that no word can. But this was not the case here. Such silences made the scenes drag for too long offering nothing in return. It seemed that Amirpour wanted us to take in the atmosphere and the inner-character tensions that was supposedly going on, but sadly nothing of substance could be found there, no matter how hard one tried.

Reviewed by Shadowplayed 8 / 10 / 10

Dead Girl Walking

This was one of the most anticipated art-house horror films. The fact it's done in Persian with Iranian director and crew absolutely peeks every filmophile's interest. Unfortunately, the hype surrounding it sometimes works against anticipated releases like this, but the wait was worth it. A Girl Walks Home...was heavily influenced by Jim Jarmusch's aesthetic, like a love letter to this director. A vampire western with a touch of romance - something I haven't seen before. Let's see if this unusual combination worked... The last few years were great for vampire subgenre, reviving it with a few films that have became instant favorites and, in my opinion, deserve their place in film history. Let The Right One In and Only Lovers Left Alive are notable examples, and now A Girl has joined them, forming fantastic trinity of style, ideas, cinematography and unparalleled atmosphere. Modern vampire subgenre works best in authentic urban surroundings, with as little action sequences as possible, focusing on loneliness, inner turmoil of the characters, existentialism and sometimes unlikely companionship between humans and vamps. A Girl has it all, adding extra cultural layer to these key ingredients. Jarmusch's Only Lovers Left Alive have set vampire tale in Western and Eastern world both, and A Girl... paints excerpts of Iranian life. (Although filmed in California) the rest is authentic. This black&white picture offers style and atmosphere, quiet, meditative and rarely violent, it's filled with music and shadows. There is a running thread of social commentary although the town and premise are fictional. Mysterious titular 'Girl' in fictional town named 'Bad Town' stalks the residents quietly, watching them go about their routines, helping the weak and good, punishing the crooked and corrupt. 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. However, The Girl is not some feminist vigilante fixing to destroy the mankind, just like Eli in Let the Right One In, she protects those in need. Unlike Eli, The Girl does not look for symbiotic relationship with disposable humans, the companionship she forms with Arash is of different nature. Big shout out to Masuka the cat, the talent and screen presence is fantastic and adorable. One lovely and immersing cinematic experience, bravo, Miss Amirpour!

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