Critic Reviews

Shot in gorgeously expressionistic black-and-white and fusing multiple genres into a thoroughly original whole, Amirpour has crafted a beguiling, cryptic and often surprisingly funny look at personal desire that creeps up on you with the nimble powers of its supernatural focus.

A strange and gorgeous and haunting film that brings the indie aesthetic of the mid-1980s into a context that feels both timeless and highly contemporary.

As an artist who can craft an ebullient postmodern pastiche but maintains links to an idiosyncratic heritage, Amirpour has instantly become one of the most exciting, globally relevant filmmakers working today. Her film is a testament both to her own creativity and the infinite elasticity of the vampire mythos.

It's a new vampire classic, one to treasure endlessly.

Beguiling in its strangeness, yet also effortlessly evoking recognizable emotions such as loneliness and the feeling of being stuck in a dead-end town and life, this moody and gorgeous film is finally more about atmosphere and emotions than narrative -- and none the worse for it.

It is the way in which the writer-director uses the specter of vampires and vices to take an off-center cut at Iranian gender politics and U.S.-Eurocentric pop culture that sets the film apart.

A Girl Walks Home Alone at Night is a terrific film, if you give yourself to it. You should, because, with Amirpour's blending of influences and pop culture, she has created a true original.

It’s a spooky, moody doozy of a debut, lensed by Director of Photography Lyle Vincent in a radiant monochrome that somehow makes even the darkness sparkle.

Along with Jarmusch, A Girl Walks Home Alone At Night is steeped in other influences: Spaghetti Westerns, 1950s juvenile delinquent movies, gearhead movies, teenage rom-coms, the Iranian new wave.

A refreshing take on vampire lore.