Tickets

  • Tue 29 Sep 7:00PM
  • Wed 30 Sep 7:00PM

Sorry, you missed this one

Tues 29 Sep:
Film: $25 +BF
Film + dinner: $40 +BF

Wed 30 Sep:
Film: $18 +BF
Film + dinner: $33 +BF
.

Doors, Box Office and Grey Gardens Cinema Bar open one hour prior to film start time.

Film + dinner packages only available as pre-purchase. Limited menu available to purchase separately on screening night.

 

VENUE

Grey Gardens
51 Victoria Street, Fitzroy

A Girl Walks Home Alone At Night

+ Clementine Ford and Tasneem Chopra

Director • Ana Lily Amirpour

Country • Iran/USA

Year • 2014

Duration • 101

Rating • MA15+

Language • Persian with English subtitles

“Vampires are super lonely, which is so romantic. And there’s all that guilt, which is like an aphrodisiac. Everything’s better with a little guilt.” – Ana Lily Amirpour*

A love story between two tortured souls in an Iranian ghost town called Bad City, a place that reeks of death and loneliness, where a lonesome girl vampire preys on the town’s most depraved denizens.

 

She Speaks First is Speakeasy Cinema’s female-focused film series. We screen films made by women followed by conversations focusing on the space women occupy in cinema; her gaze, her voice, and her story.

On Tues 29 Sep this conversation will be led by Melbourne based writer, speaker and feminist killjoy, Clementine Ford and Tasneem Chopra.

At the Wed 30 Sep session we will include a video recording of the in-conversation.

*The New York Times

“The fable-like drama offers a powerful symbolic display of feminine power and outlaw charm; one scene, involving a young boy whom the vampire terrifies, suggests a Woody Allen-like dark comedy that promises a lifetime of neuroses and the new generation’s gender wars.”

–The New Yorker

“Iranian-American writer-director Ana Lily Amirpour describes her weirdly exhilarating feature debut as the Iranian love-child of Sergio Leone and David Lynch, with Nosferatu as a babysitter. It is set in the fictional Iranian ghost town of Bad City (the name nods toward Frank Miller’s Sin City) and plays out like the missing link between Kathryn Bigelow’s first two features; the ultra-cool biker pastiche The Loveless and the latterday vampire flick Near Dark. It is steeped in the pop iconography of the past, yet its crystalline anamorphic black-and-white photography has an unmistakably contemporary edge. Cinematically, it exists in a twilight zone between nations (American locations, Iranian culture), between centuries (late 19th and early 21st), between languages (Persian dialogue, silent cinema gestures) and, most importantly, between genres.”

–Mark Kermode, The Guardian

The black-and-white, feminist Iranian vampire western you’ve been waiting for.

–Salon