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In a crime of opportunity, Arash steals a pair of diamond earrings from the wealthy young woman he works for, Shaydah. Hybridity sits at the heart of A Girl Walks Home Alone at Night. Just as the vampire figure occupies a liminal space between life and death, the film, too, exists in a liminal space. The Persian-language film is set in Iran but shot in America. This sense of in-betweenness also manifests in the film’s genre, which borrows from horror, spaghetti Westerns, coming-of-age stories, and even hints of comedy.
Their encounter turns violent when Atti asks for her cut of the money she has earned; Saeed refuses to give it to her and instead violently drags her out of the car and throws her to the ground. The Girl watches their encounter, lurking in the dark. This was one of the most anticipated art-house horror films.
Cast
Under the influence, he becomes disoriented, and ends up lost at night on the street. In the next scene, as Saeed walks to his flat, The Girl follows him. Not only does Saeed show no signs of fear, but he is intrigued by her and invites her back to his home, suggesting his desire to unveil her.
The woman with the chador spends her time listening to music alone in her apartment, skateboarding, or bedeviling pedestrians at night, until she comes across the lost Arash. He shows vulnerability and compassion, and she takes him to her home, where they listen to music, and she resists his exposed neck. They meet the next night, and she says that he does not know the terrible things she has done.
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She looks to be her employer, as Ashar is doing a little gardening. She looks like she has had a nose surgery job and an obnoxious brat. She is on her mobile phone speaking to somebody about going out. Arash sees a pair of earring and thinks of stealing them to pay for his father's bills.
They have sex in the middle of a deserted parking lot. The Girl passes them by without bothering them, but Saeed seems to notice in an unconscious way. The Girl is wearing a hijab veil and silently walks by. This startles Saeed, who pushes Atti out of the car without paying her, telling her to stop crying and calling her a hag. A young woman called Shayday calls Arash in.
An Iranian Feminist Vampire Defangs the Patriarchy
This time she knows what she is going to feel so her reaction is more subdued. He is about to kiss her when she says that she has done many bad things. She wants to leave but he puts himself on her way.
He immediately resorts to snort cocaine and turns the music up. He unbuttons his sweatshirt and showcases his dance moves. The Girl doesn't reply, and seems interested in looking at the decoration of the flat. When he caresses her mouth, her fangs can be seen. She smiles at him seductively and takes seductively his finger in her mouth.
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The chador, as a culturally specific Iranian veil, is used to challenge Western assumptions of the role of women in Muslim societies. The visual signifier of the chador interrupts the American and Western world of the film. The film's protagonist, The Girl, is a sort-of antihero vigilante with a taste for bad men. As a vampire, she is able to roam the streets at night without being concerned for her safety, subverting the implications of the film's title. She is the perpetrator, not the victim, and possesses agency and power that would not be typically reserved for her in an environment such as Bad City.
Additionally, Bad City, the fictional location in which the film is set, may perhaps be a nod to Frank Miller's Sin City. Atti, a prostitute who worked for Saeed, is followed at night by the woman, and they retreat to the prostitute's apartment. The woman gives Atti the payment Saeed owed her. They have a conversation during which the woman realizes that Atti no longer remembers what it is to desire. Feel for that, merging the events onscreen to the song choice in a way that feels inevitable, in a way that opens up the scene.
He is unfazed, gives her the earrings and – at her request – pierces her ears with a safety pin, but she eventually leaves. Filmed in the desert in California, with an excellent Iranian ex-pat cast, "A Girl Walks Home Alone At Night" introduces us to a sprawling yet interconnected cast of characters. They all live in Bad City, an Iranian town filled with bad bad vibes, surrounded by pumping oil drills, seen like galumphing prehistoric beasts, going up and down, up and down. The opening sequence is classic Spaghetti Western , mixed with a James Dean-era aesthetic, with a kid in a white T-shirt, blue jeans, and a 1950s pompadour walking around on the blasted-out outskirts of town. He drives a tail-finned Ford Thunderbird, its chrome gleaming in the bright sun, the car carrying so many powerful associations with it, of cool-ness, of Americana, of mobility, of status. The film also brings to its American and Western audience a different look at the veiled woman.
She doesn't tell him her name, but tells him that yesterday's song was Lionel Richie's.He says that sometimes sad songs hit the stop. Arash says that he knows something else about her. He caresses her ear and he tells her that her earrings are not pierced. He gives her the earrings he stole, and says that it is pity that she can't wear them. The Girl gives him a safety pinto make a hole in her ears.Arash hits the pin with his lighter and creates the hole. The Girl turns her head around and can't avoid to show her fangs in a reflex act.She controls herself and offers her other ear.
