From the Sundance Film Festival here is Glenn on 'A Girl Walks Home Alone at Night'
Despite the high profile of vampire movies in the past decade, very few of them have been strong enough to justify their budgets and mainstream success, let alone done enough to warrant any sort of long-term attention. Buffy the Vampire Slayer concluded in 2003 and since then TV series True Blood and The Vampire Diaries have attempted to pick up where Joss Whedon left off. On the big screen, however, the only vampire property to strike any form of sustained reverence is Tomas Alfredson’s Swedish take on vampire lore, Let the Right One In – and, depending on who you ask, the American remake, Let Me In, too – although I did enjoy the Spierig Brothers’ high-concept Daybreakers as well (I didn’t care for Stake Land, but I hear people like that one, too). So it’s not only a surprise, but an genuine delight to report that Ana Lily Amirpour’s stark beauty, A Girl Walks Home Alone at Night, is not just great movie, but should be considered an instant entry into the cannon of vampires on cinema.
With perhaps the most literal title of the festival, Amirpour’s American-made yet Iran-set film takes place in the fictional town of Bad City. A lawless wasteland of a location where a local pit is home to the rising number of dumped, abandoned corpses, and where thugs and pimps undertake their criminal enterprises is broad daylight. Oil drills chug and churn on the city outskirts sucking the land's resources even more than Bad City's low life residents, and a teenage boy takes advantage of a local drug dealer’s death by stealing his stash and moving in on his territory. Bad City, undoubtedly inspired at least in part by Sin City, is a town that both literally and figuratively is being drained of blood; where people don’t so much live and merely exist. It exists in a seemingly parallel world, a twilight zone of evil and it's the perfect place to go unnoticed.