Réalisation:
Ana Lily AmirpourScénario:
Ana Lily AmirpourPhotographie:
Lyle VincentActeurs·trices:
Sheila Vand, Marshall Manesh, Mozhan Marnò, Dominic Rains, Reza Sixo Safai, Pej Vahdat, Arash Marandi, Ray HaratianVOD (3)
Résumés(1)
Dans la ville étrange de Bad City, lieu de tous les vices où suintent la mort et la solitude, les habitants n'imaginent pas qu'un vampire les surveille. Mais quand l'amour entre en jeu, la passion rouge sang éclate... (Pretty Pictures)
Vidéo (3)
Critiques (7)
Un film incroyablement creux. Si, comme le suggère la réalisatrice elle-même, vous espérez y trouver des traces de F. W. Murnau, David Lynch ou, pourquoi pas, Sergio Leone, je vous souhaite bonne chance !
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Pour les initiés des cafés, dont l'expérience de la thématique vampirique commence avec Murnau et se termine avec Jarmusch, ce sera un rafraîchissement relaxant au sein du cinéma iranien. Tous les autres s'arracheront les cheveux d'ennui. Un film aussi vivant et globalement enrichissant que le serait une version Carpenter/Rodriguez du Goût de la cerise de Kiarostami.
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A true café loafer knows that the vampire theme in cinema started long before Murnau and therefore knows that anything is possible. It's only in recent years that we've seen a very different approach to the genre each season. 2012 surprised with Byzantium, which saw the return of king Neil Jordan, who changed the vampire genre with the brilliant Interview with the Vampire back in 1994. Together with Anne Rice, he had vampires reviewed by Bram Stoker and Charles Dickens. 2013 had Only Lovers Left Alive and their undead talk from Elizabethan England, dark glasses, and musical instruments. And as a version reflecting 2014, we have A Girl Walks Home Alone at Night - a gazing protagonist who has posters of Michael Jackson and Madonna and listens to Lionel Richie in her room. So who else is addressing what this girl is wearing and what country she is sucking the blood from her fellow citizens in?
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Sometimes Ana Lily Amirpour is dazzled by the fact that she's filming something at all, and sometimes she falls into the delusion that she's making great art. But overall, this visit to nocturnal Tehran with a vampire in the background is a pleasant variation on European vampire stories inspired by Gothic novels and influenced by modern romanticism. In Europe, we associate the fight against vampires with Christian crosses and holy water, but it's evident that they are quite successful even in an Islamic environment. Setting the story in the Middle East brings a certain genre revival and an element of exoticism. The director is indeed searching for her own voice, but in practice, she evidently borrows from foreign influences, and the central theme of her film, the feeling of alienation, has appeared in vampire movies many times before. However, I was never bored, which is a pleasant change compared to Jarmusch's film Only Lovers Left Alive, which I perceive as a significant artistic defeat. Considering Jarmusch's position in world cinema and the fact that Amirpour is an outsider from whom no one expects anything, this was definitely not a waste of time. Overall impression: 60%.
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Pulling out Jarmusch is a rather sad example of lack of judgment in this random and incredibly superficial and intuitively random mixture of traditions / genres / assumed poses. While Jarmusch has created an electrifying, tight, and mythologically rich universe, Amirpour only mechanically shows off potentially interesting motifs that can be enjoyed, but nothing more. Her world is a corpse thesis, a cinéma du look without magnetism and discovery (even the transitions between genres are more convulsive than elegant). In some respects, it is basically ideologically close to Xavier Dolan's early films, but they had (annoyingly for many people) a dandy swing and narcissistic passions. Slowness can be magical, enchanting and engaging. Or just diligently depressing. This is, in my view, is the case of A Girl Walks Home Alone at Night.
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Annonces