The Girl’s chador, often thought of as a symbol of oppression in a culture that requires women to cover themselves, here becomes one of power. Iranian-American writer and director Ana Lily Amirpour expands her 2011 short of the same name, and keeps the central sly conceit of the title: we’re used to girls walking home alone at night in horror films being vulnerable, but here, that describes the threat. Generally speaking, you’d have to say there aren’t that many black-and-white, Farsi-language, nouvelle vague, punk vampire Western romances, but on the evidence of A Girl Walks Home Alone At Night, there should probably be more. Twilight completely captures the intense longing and inherent relationship drama that makes beautiful young bloodsuckers such a ripe source of inspiration for YA stories – and, you have to admit it, that ‘Supermassive Black Hole’ baseball scene is pretty damn good. The blue-tinged aesthetic evokes rain-soaked Forks perfectly, the soundtrack is full of winners, and Kristen Stewart and Robert Pattinson’s two (admittedly occasionally awkward) lead performances were the foundation from which the actors have since built incredibly interesting, compelling filmographies. We reckon that Twilight deserves to claw its way into this list because of its cultural impact alone – but there’s more to it than that. Some of you may scorn and jest at seeing the first instalment of the supernatural franchise on a list such as this – but Catherine Hardwicke’s moody, melancholy adaptation of Stephanie Meyers’ novel is the best of the sparkly-skinned bunch.
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