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The Girl keeps on stalking the illuminated nights. Arash is staring at one of the street lamps.The Girl skates by but stops in front of him. A drugged Arash asks the Girl where they are, as he got lost. He says that he lives in Bad City, but that this street is not familiar. He stops and asks her why she is in Bad City. Arash tells her to sit down with him on the street.
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The film’s American- and Western-ness is further established by the spaghetti Western musical score that plays underneath it all. The score functions as the heartbeat of the film, placing this work firmly in European and Western genre conventions and traditions. Shortly before The Girl appears in the scene, we watch two characters, Saeed and Atti , in a car. Saeed represents the cliché pimp, covered in tasteless tattoos (such as “SEX” across his throat and “jakesh,” or “pimp,” on his scalp). Atti is a prostitute who works for him, the victim of both Saeed and the patriarchal society of Bad City.
There is a little boy wearing a ragged coat who is a witness to everything, an innocent bystander to the corrupt and horrifying events of Bad City going on right before his eyes. Jim Jarmusch's "Only Lovers Left Alive" created a nocturnal dreamspace of love and old age, and music and survival, with two soul mates meeting up again and again throughout the endless abyss of time. Saeed and the Girl cross paths on a deserted street at night. He throws away his cigarette and speaks to her. He makes a sign with his head and takes the Girl to his apartment.
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This film really excels in its character development and cinematography which is beautifully done and really aids the atmosphere and creates a unique style for the film. While the film really is a mash up of genres it feels much like a low key horror film with a focus on atmosphere and tone rather than gore and jump cuts. Most modern horror films employ the latter to get a very surface level rise out of the viewers, often losing the whole point in effective horror elements.
She persuades Saeed to take her back to his apartment. While there, she grows long fangs and first bites off his finger, then goes for his neck, killing him. As she leaves, she passes by Arash, who has come to offer the earrings for his car.
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She doesn't tell him her name, but tells him that yesterday's song was Lionel Richie's.He says that sometimes sad songs hit the stop. Arash says that he knows something else about her. He caresses her ear and he tells her that her earrings are not pierced. He gives her the earrings he stole, and says that it is pity that she can't wear them. The Girl gives him a safety pinto make a hole in her ears.Arash hits the pin with his lighter and creates the hole. The Girl turns her head around and can't avoid to show her fangs in a reflex act.She controls herself and offers her other ear.
He looks at the photographs of Arash's mother and starts blaming her for all her problems. Hossein wonders why Arash won't eat his fried eggs for breakfast. Arash tells that he has known a girl who he doesn't know her name of. She puts on some music while Arash is still drugged out of his mind and plays with a disco ball.
When the girl is pushing Arash home on the skateboard, the clicking of the wheels do not match the passage of the wheels over the sidewalk cracks. Director Ana Lily Amirpour, who bears a somewhat similar resemblance to Sheila Vand actually performed the skateboarding sequences in the film for the the long shots. Ashar drives away in the night with the Girl and Masuka on the co-driver's seat. He stops in the middle of nowhere and gets out of the car. He nervously walks in front of the car's lights. Finally, and in complete silence, he gets in again.The Girl puts on a cassette on.
When she has finished feeding on him, she stays around some time checking his CD's. Outside, Arash has gone to call on his father's pusher by bicycle, and wants to trade the pair of earrings for his car back. He leaves a message in Saeed's answering machine - which the Girl hears - without knowing that Saeed is already dead. The film opens with a scene of a vast wasteland, Bad City, populated with oil drilling machines and a palpable sense of being a quasi ghost town. Here, Arash a lonely teenager with a drug addicted father who consistently owes money to a dealer, tries his best to make a living working as a gardener for a rich family. Unknown to him, the city is inhabited by a lonely young vampire whose name we never learn.
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The chador, as a culturally specific Iranian veil, is used to challenge Western assumptions of the role of women in Muslim societies. The visual signifier of the chador interrupts the American and Western world of the film. The film's protagonist, The Girl, is a sort-of antihero vigilante with a taste for bad men. As a vampire, she is able to roam the streets at night without being concerned for her safety, subverting the implications of the film's title. She is the perpetrator, not the victim, and possesses agency and power that would not be typically reserved for her in an environment such as Bad City.
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