A Girl Walks Home Alone at Night is a 2014 Iranian horror film directed by Ana Lily Amirpour and starring Sheila Vand, Arash Marandi, Marshall Manesh, Dominic Rains, and Mozhan Marnò.
Tagged as “The first Iranian vampire Western”, it was chosen to show in the “Next” program at the 2014 Sundance Film Festival.
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 film is adopted from the director’s own 2011 short film and has already had a comic book adaptation published.
“To write down every reason why A Girl Walk Home Alone at Night is brilliant would take up a novel. It’s one of the rare films that understands how perfectly to blend together disparate elements and create a film that takes you into its world and doesn’t let go. Armipour’s deft helming makes a concept that could be considered ludicrous a beautiful film. The only word that can be properly used to describe it is masterpiece.” Movie Buzzers
“From the first frame to its last, the movie maintains a spellbinding atmosphere with long takes, deep shadows, and lively music cues ironically positioned against the cerebral quality of the storytelling, hinting at the vitality threatening to burst forth from its lethargic universe at any moment.” Indiewire
“With a few more plot points and tighter pacing, Amirpour’s creative endeavor might have earned a rightful place alongside bleak vampire think-pieces like Martin or Midnight Son. But as it stands, A Girl Walks Home Alone at Night represents little more than stagnant storytelling.” Bloody Disgusting
“As spellbinding a debut movie as you’re likely to see, Ana Lily Armipour’s melding of spaghetti Westerns, John Hughes misfit odes, black-and-white art movies and vampire stories definitely announced a major new talent. But the fact that horror is but one of the film’s many flavors doesn’t dilute the thrills or chills at all…” Rolling Stone
“It looks most like Rumble Fish, as if it took place in a dystopia of the ’50s extrapolated into a post-collapse future — a pile of dead bodies mounts in a ravine, not all dumped by the Girl, and everyone is desperate, alone and obsessed. The characters are cartoons or attitudes rather than people, but the world they inhabit is beguiling, threatening and eerily credible.” Empire