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.
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.
A trio of unkempt men living in hidden underground rooms in the forest are forced to flee when a gang of armed men (including a priest) raid their home. Their leader, Camiel (Jan Bijvoet), runs to a large, isolated estate and begs its owner–self-interested businessman Richard (Jeroen Perceval)–to allow him to use their shower. He refuses, and soon physically beats Camiel when he claims to have known Richard’s wife, Marina (Hadewych Minis). She takes pity on him and secretly invites him to use their bathroom, going so far as to make him dinner and agreeing to put him up in their guest house for a few nights as long as he keeps himself hidden. He soon ingratiates himself into her and her young children’s lives, and facilitates the dissolution of her marriage by sending her nightmares about Richard.
Diagnosed with a debilitating heart condition in her childhood, 22-year-old Chantaly does not leave her house much. Her mother died in childbirth, and her doting father raised her as best he could, but she has always felt the absence of a mother in her life. As an adult she lives quietly, running a small laundry service from their home with the help of her cousin, and playing with her adorable dog Moo. She starts experiencing visual and aural disturbances that might be her dead mother’s ghost, or might be a hallucinatory side-effect of her heart medication. Chanthaly becomes convinced her mother is trying to reach her, trying to tell her the truth about her death, and she gradually comes to distrust and resent her well-meaning but overprotective father.
Aspiring punks Bobo (Mira Barkhammar) and Klara (Mira Grosin) may only be thirteen years old, but they are ready to take on the world with their newly-formed band. At first trying to teach themselves to play bass and drums, they eventually enlist shy Christian guitarist Hedvig (Liv LeMoyne) to join the group, and the three forge a solid but sometimes tempestuous friendship. Politics, class, puberty, and music all intermingle as the girls come of age- sticking together through first crushes, first DIY haircuts, first hangovers, and their first live performance at a small-town music festival.