Film
A Girl Walks Home Alone at Night
A black-and-white vampire film set in a decaying Iranian town, where a girl who feeds on predators becomes the unexpected protector of a lonely young man. It's a mood piece disguised as horror—sensual, melancholic, formally striking. For viewers who want something strange and atmospheric that doesn't play by genre rules.
Should you watch it?
Watch it if you love slow, black-and-white genre films where mood, stillness and a striking visual style matter more than plot, and you enjoy a vampire story that feels more like a melancholy romance than a shock machine.
Skip it if you need brisk pacing or a clear sequence of scares, since long silences, sparse dialogue and drifting scenes can make the 101 minutes feel much longer than they are.
What it asks of you: It asks you to settle into a quiet, deliberate rhythm and accept a lot of atmosphere over incident, watching closely rather than waiting for things to happen.
Not sure? Find tonight's pick in a minute.
If you liked this
Under the Skin2014
An alien walks through Scotland observing humanity with detachment and hunger. Like *A Girl Walks Home*, it's hypnotic sci-fi horror that treats the fantastic as mundane, prioritizing atmosphere and slow-burn dread over plot.
But Very little dialogue, deliberately paced, and genuinely unsettling rather than conventionally frightening. It asks a lot from the viewer.

Only Lovers Left Alive2013
Two vampires navigate existence in Detroit and Tangier with ennui and dark humour. Shares the same romantic fatalism, art-house sensibility, and the idea that monsters can be oddly sympathetic and melancholic.
But Essentially a conversation between two people for two hours. If you need plot momentum, this will feel like treading water.

The Neon Demon2016
A striking visual nightmare about beauty and predation set in Los Angeles. Both films use bold black-and-white or high-contrast imagery to create something that feels operatic and removed from reality.
But Nicolas Winding Refn's style is deliberately artificial and cold. Some find it gorgeous; others find it hollow and exhausting.

Not sure tonight? Get a pick in a minute, starting from A Girl Walks Home Alone at Night
The wildcard
Something you would not have found on your own.
The Wailing2016
Both centre on a girl whose nature is fundamentally uncertain, and both use that ambiguity to generate dread and pathos rather than clarity.
A Korean horror-mystery where a girl at the centre of a dark situation may be saviour or threat—ambiguous, visually striking, and haunting in ways that stay with you. Both films use genre to explore moral complexity and the danger of certainty.
But It's nearly three hours, deliberately opaque, and offers no clean resolution about who or what is guilty. The ambiguity infuriates some viewers.

More like this (8)
Stalker1979
Andrei Tarkovsky's meditative science-fiction masterpiece about longing and the unknown. Like *A Girl Walks Home*, it's patient, philosophical, and treats fantastic elements as a backdrop for deeper questions about desire and meaning.
But 163 minutes of slow, philosophical filmmaking. If you want answers or action, you will leave frustrated.

The Night of the Hunter1955
Charles Laughton's only directorial effort—a black-and-white Southern Gothic nightmare with an unforgettable villain. Shares the formal beauty and the sense that ordinary evil is far more terrifying than anything supernatural.
But Its pacing and melodrama feel very much of the 1950s. Modern audiences sometimes find it dated or overly theatrical.

Mulholland Drive2001
David Lynch's Los Angeles nightmare balances dreamlike beauty with creeping dread and unseen darkness. Both films trust the viewer to sit with mood and strangeness rather than spelling things out.
But The structure is intentionally fractured and the logic is dreamlike rather than linear. It rewards multiple viewings and rewards confusion.

Let the Right One In2008
Swedish vampire film about a lonely boy and an ancient girl who feeds on blood. Like *A Girl Walks Home*, it's a tender, tragic romance wrapped in horror, with a child at the centre of the darkness.
But The ending requires accepting some ambiguity about what you're rooting for. It doesn't offer moral clarity.

It Follows2015
A supernatural threat that cannot be reasoned with, shot with an almost tender dread. Both use genre concepts to explore isolation and vulnerability rather than as an excuse for spectacle.
But The premise is abstract and the threat is never fully explained. Some viewers need more concrete logic in their horror.

Crimson Peak2015
Guillermo del Toro's Gothic romance with vampiric undercurrents, gorgeous black-and-white cinematography, and a protagonist who walks into darkness with open eyes. Visually sumptuous in ways that echo *A Girl Walks Home*.
But It's more romantic melodrama than horror, and the twist is relatively predictable if you're paying attention.

Possession1981
Both use supernatural elements to visualize emotional and romantic devastation. Both are formally adventurous in ways that put you inside a character's isolation.
Andrzej Żuławski's hallucinatory Polish nightmare about a marriage dissolving into cosmic horror and body transformation. Visually and emotionally chaotic in ways that feel genuinely alien. Raw and unforgettable in its commitment to psychological extremity.
But It's visceral, loud, deliberately ugly in parts, and the narrative is fractured and hard to parse. Its intensity can feel assaultive rather than artistic.

Thirst2009
Both use vampirism as a metaphor for transformation and desire that cannot be controlled or made respectable. Both are willing to make the monster sympathetic without making them good.
Park Chan-wook's vampire film is sensual, violent, morally murky, and gorgeously composed. A priest becomes a vampire and must reckon with desire, faith, and the person he might become. Operates in the same space where horror and eroticism and spirituality merge.
But It's graphic in its violence and sexuality, and its theology is provocative rather than comforting. It will repel viewers who need their art to be respectful to their beliefs.

People
Cast
Sheila VandThe Girl
Arash MarandiArash
Marshall ManeshHossein 'The Junkie'
Mozhan NavabiAtti 'The Prostitute'
Dominic RainsSaeed 'The Pimp'
Rome ShadanlooShaydah 'The Princess'- Milad EghbaliThe Street Urchin
Reza Sixo SafaiRockabilly
Ray HaratianThe Boss 'Commercial'
Ana Lily AmirpourSkeleton Partygirl
Pej VahdatDJ Porno
Directing
- Ana Lily AmirpourDirector
- Daniel LugoFirst Assistant Director
- Dana KeatingSecond Assistant Director
Writing
- Ana Lily AmirpourScreenplay
Production
- Alan Noel VegaAssociate Producer
- Shahrzad 'Sheri' DavaniCo-Producer
- Alexei TylevichExecutive Producer
- Ben ConradExecutive Producer
- Daniel GroveExecutive Producer
- Daniel NoahExecutive Producer
- Elijah WoodExecutive Producer
- Josh C. WallerExecutive Producer
- Nick MoceriExecutive Producer
- Patrick GroveExecutive Producer
- Reza Sixo SafaiExecutive Producer
- Michael J. ZampinoLine Producer
- Ana Lily AmirpourProducer
- Justin BegnaudProducer
- Sina SayyahProducer
- Delaura AttaranProduction Assistant
- Jeremiah BondProduction Assistant
- Dana KeatingProduction Coordinator
- Adam KershPublicist
- Jim DobsonPublicist
Recommended by
Byzantium, Mustang, Under the Shadow, Cam, Interview with the Vampire, Only Lovers Left Alive, The Nightmare, Liquid Sky, Nosferatu the Vampyre, American Mary, The Hunger, The Road Movie, The Alchemist Cookbook, Black Sands, The Seasoning House, Macabre, Funeral Parade of Roses, Difret, Fat Girl, Jerichow, Anaarkali of Aarah, Noriko's Dinner Table, No Such Thing, Poultrygeist: Night of the Chicken Dead, The Survivalist, Tale of a Vampire, The Nights Belong to Monsters