After being told about an “Iranian/Vampire/Romantic/Drama” movie doing the festival rounds, my interest was piqued, you don’t hear many of them knocking about . Adapted from a 2011 short going by the same title, this is a weird one to nail down, Director Ana Lily Amirpour’s film is definitely reminiscent of other films but never quite making the leap to “Derivative” territory and remaining its own creature. A Sergio Leone/Jim Jarmusch aesthetic bathed in gorgeous Black & White cinematography sets the scene where we’re introduced to Arash Marandi’s character – Arash, with his James Dean vibe continuing the movie’s crush on Americana, and then through Kismet or at the very least, a questionably moustached pimp, encounters Sheila Vand’s title character.

A Vampire that prowls the wasteland, Sin City-like “Bad City” , an Urban Myth made flesh, a neat role reversal of the chador clad “Boogeywoman” terrifying the shit out of the Patriarchy, working with a cat-like curiosity and child-like innocence seen in a beautifully subtle moment soundtracked by White Lies’ “Death” and weirdly illuminated by a mirrorball. Not scary as much as it’s definitely tense, constantly wondering whether She’ll attack or skateboard off, a curiously bloodless scene of Her terrifying a young boy into good behaviour with a very graphic bit of threatening is a lovely touch and could do with some more of that. There is a definite beating bloody heart amidst the groaning, gurgling oil rigs and mass burials, just when it threatens to be all style, no substance.

It’s a gorgeously shot bit of delirium, married to a minimalist screenplay that even with Jim Jarmusch stylings and a mirrorball accompaniment manges to be charmingly subtle……for an “Iranian/Vampire/Romantic/Drama” anyway.

4/5 Pops.

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