Let's be honest: as of 2014, the vampire sucked. Over its 150+ year history, the vampire has evolved from the exotic, erotic monster of Le Fanu's Carmilla and Stoker's Dracula, to Lugosi's low budget lothario, to the dangerously sexy rebels of The Lost Boys, to the brooding romantics of Anne Rice and Joss Whedon, to the defanged teenage fantasies of American preteen girls.While I don't begrudge girls their sexual fantasies, the fact remains that the vampire, in its current glittery form, is a far cry from the symbol of sexuality and otherness that it had been at its inception. With notable exceptions like Thirst and Let the Right One In, vampires have spent the last 30 years getting weaker, whiter, more often male, and very American. With A Girl Walks Home Alone at Night, Iranian American writer/director Ana Lily Amirpour is here to change all that.
It's difficult to define A Girl Walks Home Alone At Night as just one movie: it's a vampire flick, a spaghetti western, a love story, a feminist fantasy, and an allegory about Iran. The plot is fairly simple to describe: a young man named Arash (Arash Marandi) living in a corrupt city in Iran (known only as Bad City) falls in love with The Girl (Sheila Vand), a streetwalking vampire who preys on drugdealers and beggars. But don't dismiss this as a weak narrative film.