A Girl Walks Home Alone at Night (Dokhtari dar sab tanha be xane miravad, 2014)

There is a lot to like about this film. As a feature-length debut it casts a long (chador-clad) shadow, with a largely stylish use of its widescreen black-and-white frame, and a commanding central performance from the laconic Sheila Vand as the unnamed girl of the title. It’s a vampire film, but not a horror precisely, more of an existential mood piece, like the Jarmusch of Dead Man but without the deadpan humour, with a central character who takes her style cues from Anna Karina and the early nouvelle vague. It’s been called a ‘western’ as well, which I think gets at some of the frontier-like emptiness of its setting, nominally an Iranian town called “Bad City” but actually shot in California. But the style can be a weakness, as you get the sense that the project started with a visual motif — the forbidding figure cut at night by a woman wearing the traditional Iranian chador, the long cape-like black garment which is affixed over the head and billows out behind — with the film then being built up around this. So those sequences where Vand is walking down darkened streets have a compelling inky monochrome beauty, with her lithe movements practised at home in front of a record player, but when other characters are introduced — whether Arash Marandi’s putative love interest, or Marshall Manesh’s drug-addicted father — the narrative focus wavers a bit, as if uncertain what to do. At times, too, the film turns into something of a musical, as a track is cued up on the turntable then plays out at length, though the director’s taste seems geared towards mid-2000s indie rock, which doesn’t always seem to mesh with the forbidding atmosphere created by the musical score elsewhere. Possibly the most compelling other character is the even more laconic performance from Masuka, a cat, whose presence structures the film and also conveys key plot points to lovelorn Arash. However, for all this — and surely some of my reservations boil down to personal taste — it remains a strong and distinctive directorial debut with a compelling representation of female empowerment that undercuts the expectations created by its title.


© Vice Films

NEW RELEASE FILM REVIEW
Director/Writer Ana Lily Amirpour | Cinematographer Lyle Vincent | Starring Sheila Vand, Arash Marandi, Marshall Manesh | Length 101 minutes || Seen at ICA, London, Thursday 28 May 2015

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