Sometimes a movie can intrigue based solely on descriptors used when people talk about it. A Girl Walks Home Alone at Night is summed up as “the first Iranian vampire western;” it is made by a woman, and it is also shot in black and white, and it is also a sexy romance. Also also rock and roll. So, naturally, I eagerly awaited its release, and finally finally caught a showing at Coolidge Corner, in their ultra-tiny screening room that seats 14 people, and lo, it was good. Written and directed by Ana Lily Amirpour, the film follows the goings-on of a small, sad town called Bad City, whose denizens are lost and lonely, whose streets harbor a silent killer, a vampire who stalks repugnant men.
It isn’t referenced much in any well-informed critical “film” discussions. It isn’t typically put forth as a shining example of 80s cinema, or women-directed cinema, or Madonna-starring cinema. It probably isn’t used in many film classes. It isn’t especially well-remembered today, except as a kind of style footnote within the singer’s long and storied career. And yet, I would easily count Desperately Seeking Susan among my favorite films. And I consider it Important.
Ah, October, a month when talking obsessively about slashers, vampires, haunted houses, killer aliens, werewolves, and dismemberment is generally socially condoned. I have been enormously enjoying my own spooky season, an extension of my personal exploration of horror over the past year. Though I’ve seen many new-to-me horror films recently, it has been especially heartening to check out a few titles written and/or directed by women, which aren’t exactly common. Two of my favorites so far are the lycanthropy-as-metaphor-for-puberty drama Ginger Snaps, written by Karen Walton, and the body-mod gorefest American Mary, written and directed by the Soska Sisters.
When university student Hana meets a quiet, lonely man in one of her lectures, the attraction is instantaneous. She soon discovers he is the last of a family of wolf-people, but that does not change her feelings for him. They move in together and have two children, and tragically he is killed in an accident shortly after the second child is born. Hana quickly realizes her offspring are shapeshifters, with the ability to turn into wolves, and she moves her family out to the country with the hope that they’ll be safe from prying eyes and can find a way to reconcile their dichroic heritage by being closer to nature.
Set in that bygone era when downtown New York was overrun with punks and freaks and strip clubs and boomboxes and graffiti, Times Square follows the adventures of unlikely duo of Pamela Pearl (Trini Alvarado), a shy, lonely, wealthy 13-year-old girl and abrasive, anti-authority 15-year-old punk Nicky Marotta (Robin Johnson). They meet in a hospital where they are undergoing tests for seizure-related issues, but they soon break out together and decide to make it on their own in the streets of New York City. They move into an abandoned warehouse (or train station? or something?) and do well enough for themselves stealing food, taking clothes from some old trunks they found, and dancing (clothed) at a club.