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Speaker 1: Hey, this is Annie and Samantha and welcome to stuff

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Speaker 1: I've never told to your protection off I heart radio

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Speaker 1: and it's time for another feminist movie Friday. Um this

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Speaker 1: one we Samantha and I watched together alone. Yeah, yeah,

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Speaker 1: you'll see I'm about to post when we all right,

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Speaker 1: when we were at least this the text you and

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Speaker 1: I had because we went back and forth and it

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Speaker 1: was really really interesting because the entire time we were

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Speaker 1: not necessarily like live t waiting, but we're definitely live

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Speaker 1: texting each other the entire time, and we were pretty close. Yeah,

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Speaker 1: in our our screening times. Yeah, yeah, it was fun.

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Speaker 1: We had a good time making the most of this situation. Um. Yeah,

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Speaker 1: And we're talking about the Persian film A Girl Walks

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Speaker 1: Home Alone at Night. And this is a movie written

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Speaker 1: and directed by Anna Lily I'm rapport and it was

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Speaker 1: her debut film. It stars She Lavon as the titular girl.

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Speaker 1: That's how she's built. That's her character name, right, and

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Speaker 1: Anipor grew up in California after her parents fled during

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Speaker 1: the Iranian Revolution. While it was as far as only

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Speaker 1: released in the U S, there are things in the

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Speaker 1: movie that only people who read and understand FARSI would

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Speaker 1: get a character who plays a pump has a tattoo

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Speaker 1: that says pump across the space and Farsi. So it

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Speaker 1: is very like you need to pay attention. Yeah, and I,

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Speaker 1: I mean, we read that in our research, but I

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Speaker 1: would love to confirm it from a listener seeks Farsi. Um,

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Speaker 1: and I just want to put in here shout out

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Speaker 1: to me. I was in a vampire film short ones uh,

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Speaker 1: and maybe I did find it. Maybe I'll post it somewhere. Um.

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Speaker 1: It was for forty eight our film festival, and uh,

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Speaker 1: we accidentally forgot to title it, so it's called untitled.

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Speaker 1: I mean, that's an ominous title. I like it. I

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Speaker 1: I thought it was really good and I had a

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Speaker 1: good time making it in the way that a forty

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Speaker 1: hour film festival is a very dramatic period of time.

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Speaker 1: There's a lot of arguments, but at the end he

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Speaker 1: feels so much camaraderie. But okay, everyone's like, please don't

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Speaker 1: post it, but I might. I think you should. And

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Speaker 1: I also did a movie crush with Chuck, our friend

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Speaker 1: Chuck on what we do in the Shadows. So vampires

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Speaker 1: are sort of your thing, and especially different takes on vampires. Um,

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Speaker 1: then go check that out. That was one of my favorites.

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Speaker 1: Oh god, I love that movie so much. On the

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Speaker 1: show is great. Um, I did want to read the

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Speaker 1: Amazon Prime summary. Okay, strange things are afoot in Bad City,

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Speaker 1: the Iranian ghost town, home to prostitutes, junkies, pimps, and

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Speaker 1: other swordid souls, is a place that reeks of death

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Speaker 1: and hopelessness, where a lonely vampire is stalking the town's

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Speaker 1: most unsavory inhabitants. But when boy meets girl, an unusual

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Speaker 1: love story begins to blossom blood red. Thank you for

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Speaker 1: that rendition. That was freaking amazing. Thank you. Um it

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Speaker 1: was beautiful. I kind of want you to do redo

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Speaker 1: it just to me so I can save it. You

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Speaker 1: know what, during this time and we're all looking for

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Speaker 1: new content, I should start a thing, right, just dramatically

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Speaker 1: read description that and also get a fan fiction. Okay,

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Speaker 1: I'm looking for a way to read my fan fiction. Actually, um,

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Speaker 1: if you need someone to do some of you know,

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Speaker 1: other characters, send it to me and we can have

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Speaker 1: a reading. Okay, we cord that out so we can

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Speaker 1: do like a skype live reading together. I still maintain

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Speaker 1: that you're going to have to watch Star Wars to

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Speaker 1: understand my fan fiction. I appreciate the devil. I think

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Speaker 1: it's better not knowing. Definitely not because I could just

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Speaker 1: enjoy trying to figure out what the hell is going on. No,

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Speaker 1: come on, no, no, well, let's get back to our movie.

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Speaker 1: And again I'm just gonna go by to the fight that. Yes,

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Speaker 1: your readings are always great, so just put it out there,

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Speaker 1: but we will talk about our movie, and specifically, let's

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Speaker 1: talk about the plot. So the movie is set in

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Speaker 1: a fictional city in Iran called Bad City on the

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Speaker 1: Nose Um. It's sort of a ghost town populated by

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Speaker 1: drug addicts and sex workers, and it's sort of reminiscent

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Speaker 1: of Sin City, I guess, um, and the color scheme

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Speaker 1: is kind of around the same way, I guess. The

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Speaker 1: opening titles are over a pit of dead bodies that

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Speaker 1: is apparently just the norm. It's broad daylight. When the

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Speaker 1: dude walks past, we see a rash a James Dean

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Speaker 1: type of writing off in his super nice car, or

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Speaker 1: he did have a nice car until a drug dealer

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Speaker 1: took it as payment for drug debt for his father.

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Speaker 1: His father is a widowed addict spending his time with

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Speaker 1: the single sex worker and bad city again it's a

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Speaker 1: ghost town. Yeah. And so this drug dealer slash pimp

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Speaker 1: then shakes down a sex worker and his employee, refusing

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Speaker 1: to give her her cut and coerces her into oral sex.

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Speaker 1: And then we get our first glimpse of the girl. Um,

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Speaker 1: and she's silently watching. It's a really good cut because

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Speaker 1: he sees her any turns and then when he turns back,

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Speaker 1: she's not there anymore. He later becomes her first victim

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Speaker 1: because he invites her. He sees her again, and he

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Speaker 1: invites her back to his place, where she kind of

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Speaker 1: silently goes through his things. She's not saying anything, she's

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Speaker 1: just kind of looking around as he's doing drugs. Um.

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Speaker 1: And then he starts dancing in front of her shirtless.

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Speaker 1: This is the type of guy this is. Yes, you

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Speaker 1: got so like that was one of the texts. He's dancing.

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Speaker 1: Why is he dancing? Yes? And I have seen this movie,

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Speaker 1: but it's been along of me too. Yeah. Okay, so

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Speaker 1: he's the one thing that really stuck out to me

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Speaker 1: of this scene is both the viewer and him. It

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Speaker 1: seems like he's in control of the situation. He is

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Speaker 1: so certain he is the one in power here. He's

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Speaker 1: going to get what he wants. But then she reveals

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Speaker 1: her things and centrally sucks his finger, recalling his earlier

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Speaker 1: coercing of the sex worker, and then she bites it off.

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Speaker 1: I mean, it's pretty amazing thing. Yeah, and then she

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Speaker 1: continues to feed on him. And yet while I was

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Speaker 1: watching this, I kept thinking that if I had not

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Speaker 1: known anything going in, I would never like no chance

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Speaker 1: in hell when I read her as the aggressor, right, Um,

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Speaker 1: I would think, oh, was something weird, But it's it's

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Speaker 1: very interesting the way that the movie plays with things

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Speaker 1: like that. A Rush arrives soon after this incident to

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Speaker 1: find the drug dealer dead um and takes back the

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Speaker 1: keys to his car. He'd previously stolen some diamond earrings

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Speaker 1: from a rich client to exchange with the keys, and

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Speaker 1: that's why he was there, but now no need, so

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Speaker 1: he keeps the ear rings. Um. Not only does he

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Speaker 1: recover his car keys, he takes the suitcase of drugs

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Speaker 1: and cash, and then he quits his job and decides

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Speaker 1: instead to start selling drugs. When the girl meets a rash,

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Speaker 1: he's dressed us Racula, the very overly cartoonist Dracula um.

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Speaker 1: And he asks her if she's afraid of him again.

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Speaker 1: The one thing that I love about her character is

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Speaker 1: her just intense glare. It's never just the look is

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Speaker 1: always a glare. Because I was gonna say, even though

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Speaker 1: in the scene where she is with the pimp, you

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Speaker 1: would think that the pimp is the one in control,

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Speaker 1: her stare alone tells you, hail, no things are gonna

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Speaker 1: go awry real quick, and in the favor of this girl.

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Speaker 1: But with that they formed a connection maybe maybe love,

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Speaker 1: maybe obsession, maybe an understanding, um, just a connection for something.

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Speaker 1: And Arrah had just come from a costume party where

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Speaker 1: he took ecstasy, and I'm not gonna lie. There was

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Speaker 1: a couple of moments when he were like no, and

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Speaker 1: I was like, oh no, um. And he made the

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Speaker 1: moves on a girl at the party who was actually

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Speaker 1: the girl that he's stole in the earrings from and

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Speaker 1: she rejects him. And another dude puts veins into Rash's mouth,

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Speaker 1: which you a lot of like people playing with each

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Speaker 1: other's mouth. Maybe that's the thing that's maybe the theme

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Speaker 1: or kind of of a lesson of kind of like, yeah,

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Speaker 1: I see, I own you. I can do this to

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Speaker 1: you specifically, I mean yeah. And it feels like a

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Speaker 1: commentary on emasculation and performative aggressive masculinity. Also Creepy Days

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Speaker 1: and Reagan. Yeah there's a oh yeah that Reagan the

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Speaker 1: fat face mask that yeah yeah. Okay. So from there,

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Speaker 1: a relationship between Irahe and the girl blossoms. When they're

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Speaker 1: first hanging out listening to music, it's played so that

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Speaker 1: you think she's going to bite him. She's like kind

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Speaker 1: of slowly getting closer, leaning in, and so is he um,

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Speaker 1: but instead she kind of just goes for a hug

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Speaker 1: and they hold each other. Yeah, it's a very it

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Speaker 1: ends up being pretty sweet. Later she tells him that

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Speaker 1: she's done bad things and he doesn't know what she's done,

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Speaker 1: but he's totally unperturbed. He's like, I have done You

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Speaker 1: don't know what I've done either, and he gives the

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Speaker 1: ear rings and pierces her ears with a safety pin.

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Speaker 1: I love that. It's a oh I see. I think

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Speaker 1: of the parent chap, but with Lindsay Lohan, because that's

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Speaker 1: the one I saw all of this, so sad can't

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Speaker 1: help it. Sorry, I'm so sad right now. Um. The

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Speaker 1: girl gives the sex harker what the pimp owed her

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Speaker 1: her cut. Meanwhile, Rasha's father is going through withdrawn believes

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Speaker 1: their cat is his dead wife, and Rash angrily gives

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Speaker 1: him the drugs and money and kicks him and the

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Speaker 1: cat out. His father and the cat go to the

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Speaker 1: sex worker's place, where he coerces her into taking heroin.

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Speaker 1: The girl arrives and kills him. The two women disposed

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Speaker 1: the body, and then the girl takes the cat. Rash

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Speaker 1: discovers his father's body the next day and heads over

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Speaker 1: to the girl's place to ask her, like, let's go,

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Speaker 1: let's run off, pack your things. But then he sees

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Speaker 1: the cat and he he realizes that she probably he

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Speaker 1: must have had something to do with his father's demise.

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Speaker 1: But they drive off anyway, and it's really there's tension. Clear.

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Speaker 1: He stops the car in a dark road. I love

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Speaker 1: this shot that they're just sitting there in silence and

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Speaker 1: the cats sitting in between them, like it's the elephant

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Speaker 1: in the room, the cat in the car. He gets out,

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Speaker 1: contemplating what he's gonna do. For a moment, you think

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Speaker 1: he's going to confront her, but instead he gets back

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Speaker 1: into the car and they drive off into the night

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Speaker 1: in silence, and you know, you see that hesitation. It's

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Speaker 1: definitely that moment of him going do I confront her? Right?

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Speaker 1: Do I keep going? What's the lesser evil? And I

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Speaker 1: think that could be a commentary on what's worth of

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Speaker 1: being alone? Yeah? You know. So when it comes to style,

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Speaker 1: this movie has it in space the black. It's black

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Speaker 1: and white, but also really contemporary, sort of a modern

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Speaker 1: twilight zone fill and also exists in sort of a

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Speaker 1: limbo outside of time of American and Iranian culture. Is

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Speaker 1: a silent film, and Farci dialogue of music is on point.

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Speaker 1: It's so on point, like there are several times that

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Speaker 1: we were just like Ah's music. The sound Dragon just

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Speaker 1: brings all the fields, like I can't even understand half

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Speaker 1: the songs, but it's gorgeous and I just I love it.

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Speaker 1: And in the girl's room are music posters pressed, most

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Speaker 1: strikingly one of Madonna, which I told I don't know

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Speaker 1: if I think I've told you the story that the

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Speaker 1: two musicians I knew about growing up in Korea. That

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Speaker 1: as my memories living in my grandparents house before I

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Speaker 1: went to an orphanage. It was Madonna and Michael Jackson,

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Speaker 1: so they are an international kind of representation of American

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Speaker 1: iconic pop music culture. For sure. It kind of defies

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Speaker 1: genres to sort of a Western, sort of a horror,

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Speaker 1: sort of a romance, sort of a female revenge kind

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Speaker 1: of a comedy. There's definitely this is a v uh

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Speaker 1: sort of a tale of teenage loneliness. I mean, the

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Speaker 1: tagline of this movie was the first Iranian vampire Western,

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Speaker 1: So there's definitely a lot of educations. And when it

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Speaker 1: comes to just the cinema attic scope of the movie,

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Speaker 1: it's gorgeous. There's a lot of uh staging. You could

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Speaker 1: tell that she did it purposely and to make it

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Speaker 1: a depth that is either you're supposed to feel hollow

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Speaker 1: or you're supposed to feel like they're in their space

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Speaker 1: and you know, you're talking about the scene where they

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Speaker 1: were hugging each other. I take some pictures like I

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Speaker 1: was trying to pose my box of wine for I'm sorry,

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Speaker 1: my box of juice adult juices for our Faminist movie

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Speaker 1: with that shot because it was such a beautiful still shot.

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Speaker 1: It's just a gorgeous like she did it perfectly in

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Speaker 1: a way that she also made the move from. If

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Speaker 1: you're viewing it left to right, it's gorgeous. It is

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Speaker 1: a lot of this movie is really gorgeous. The girl

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Speaker 1: again played by She the vand she's dressed in traditional

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Speaker 1: black veil. She's seen semi frequently traveling on a skateboard.

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Speaker 1: She scares boys and feeds on men, especially men who

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Speaker 1: perpetrate sex space crimes. There is crimes in general. All

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Speaker 1: she's a vigilante vampire. Yeah, and we don't know much

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Speaker 1: about her other than that. We don't know why she

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Speaker 1: hunts wrongdoers or why she's in that city. We don't

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Speaker 1: even know her name, if it even matters when you're

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Speaker 1: more at thinking about that, like do you even care? Um,

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Speaker 1: we don't know how long she's been a vampire. We

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Speaker 1: don't know how she got turned or who she was before.

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Speaker 1: The audiences left to draw our own conclusions, and by

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Speaker 1: leaving the details of her story vague, she can be

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Speaker 1: read as a representation of something so much more than

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Speaker 1: just one person, the girl. Right. Um, So we have

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Speaker 1: a lot of troops to get into around this movie,

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Speaker 1: but first we have a quick break for a word

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Speaker 1: from our sponsor and we're back, Thank you, sponsor, And

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Speaker 1: we did want to talk a little bit about um.

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Speaker 1: I guess the creators her feelings around around this movie

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Speaker 1: and when people asked if it's feminists right, what and

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Speaker 1: why and huh So when when asked whether or not

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Speaker 1: the film was intended to be feminist, Armorports said yes

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Speaker 1: and went on to explain that probably says more about

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Speaker 1: you than it does about me. A film is like

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Speaker 1: a mirror, agreed here on my own comentary what I

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Speaker 1: connect within a movie is my own stuff, so consciously, No,

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Speaker 1: it's more about how surfaces are, not what they see.

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Speaker 1: There's more than me the eye to people. It's not

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Speaker 1: just women, it's everybody. Everybody in the world in the film,

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Speaker 1: in my mind, is much more than what you see

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Speaker 1: on the surface. All people underneath have strange, weird secrets inside, agreed,

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Speaker 1: And when you get to those things, it makes you

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Speaker 1: re evaluate the outside and reevaluate your assumptions. That's what

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Speaker 1: I'm interested in. It's not an ism. All of those

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Speaker 1: things confine you're thinking because they tell you this is

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Speaker 1: what it is, and then it's done. I think everything

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Speaker 1: just has to be considered in its own individual space

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Speaker 1: and time. Yes, so she has. If you look up

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Speaker 1: feminist best feminist movies, this frequently comes up on the list.

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Speaker 1: So she gets this question a lot, and it sounds

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Speaker 1: like for most of the interviews I've read with her,

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Speaker 1: she's kind of like, you know, I intended it to

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Speaker 1: be this way to me, but I never went out

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Speaker 1: to like, it's just this thing because audiences consume it

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Speaker 1: and have different takes. And she did say Love is

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Speaker 1: kind of a horrible movie, isn't it that that's a

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Speaker 1: whole different take. It's true. Yeah, you know how a

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Speaker 1: not that trope too, Like, oh no, if you don't

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Speaker 1: find the versional whatever and you go into true to Love,

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Speaker 1: maybe stop the horror right right now? Maybe maybe so

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Speaker 1: one of the tripes we want to talk about right

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Speaker 1: in the title reclaimed the night, um yeah, because it's

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Speaker 1: a phrase that frequently starts tragic stories about women who

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Speaker 1: are sexually assaulted in murder. She was walking alone at night,

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Speaker 1: But in this case, she is the predator. She is

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Speaker 1: the one people should be afraid of. She is the

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Speaker 1: one human villains need to fear. Import purposefully did not

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Speaker 1: give the character a name, nor many speaking lines describing her. Instead,

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Speaker 1: as a force of nature, telling you that Stare Glare

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Speaker 1: alone literally could put someone down. I mean, I think

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Speaker 1: part of that was the great makeup that you can't

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Speaker 1: quite see with a black and white but yeah, yes,

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Speaker 1: they take someone down. She definitely has a presence, just

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Speaker 1: anytime she's on in a in a still or a

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Speaker 1: scene and you're like, oh, okay. And then with that cape,

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Speaker 1: she's like Batman. Yeah. And the fact that she's wearing

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Speaker 1: it something that in Western media typically depicts a woman

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Speaker 1: who is helpless or suppressed or dangerous, and in Islamic

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Speaker 1: media usually indicates virtue and innocence. And during the Revolution

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Speaker 1: protest in some scenes it does function as sort of

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Speaker 1: a superhero cape or a sky. When asked if she's religious,

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Speaker 1: she immediately says no. This balancing act makes viewers question

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Speaker 1: their own beliefs. She is a monster in the literal sense,

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Speaker 1: but she's also in some ways a hero, or at

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Speaker 1: least in our entertainment culture, very that's very batman esque,

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Speaker 1: almost vigilante. She doesn't need saving in the typical sense,

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Speaker 1: but she does need some type of connection. She isn't

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Speaker 1: in danger in the typical sense, instead in danger of

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Speaker 1: not feeding on a victim. She's both the final girl

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Speaker 1: and the antagonist at the same time. It contains multit yes, yes,

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Speaker 1: and it really makes you question why if we didn't

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Speaker 1: know she was a vampire, almost every interaction she has

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Speaker 1: with a man, she would be the prey and they

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Speaker 1: would be a predator. At least that's what I kept questioning, right. Yeah,

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Speaker 1: she wears a cute T shirt to meet, very Parisian like.

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Speaker 1: You know, she just need a beret and her hair

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Speaker 1: make up are cute too. She does not look like

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Speaker 1: a traditional predator. She does look like a young teenage girl. Um.

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Speaker 1: Yet even without the vampire thing, there's an edge of

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Speaker 1: danger around her again, that intense there that would be

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Speaker 1: a little afraid. And I think the eyeliner again, that makeup, um,

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Speaker 1: and the refusal to ever look away helps what that

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Speaker 1: edge he does. Yeah, I think we need to learn

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Speaker 1: that trick. We didn't get some really thick eyeliner. I

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Speaker 1: am so bad an eyeliner. I can. I can't help

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Speaker 1: you because I don't want to touch your eyes and

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Speaker 1: I want to freak me. Maybe years from now that

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Speaker 1: would make me so freaked out. Um, But no, billion

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Speaker 1: like wearing that thick doesn't just staring at people. You

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Speaker 1: also do have to take your head down. Okay, you

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Speaker 1: see what I'm doing right here, Yeah I do. I'm

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Speaker 1: getting a lot of tips. So right now I'm tipping

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Speaker 1: my head down so you can see my double chin.

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Speaker 1: But you can also see the intensity in my I

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Speaker 1: can getting a little freaked out. I don't know that

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Speaker 1: Dieline or Vampire Smith. Again, I would go towards more

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Speaker 1: gool ghosts. Okay, okay. There are themes of the patriarchy

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Speaker 1: throughout this movie. When we first see Rosh's father, a

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Speaker 1: clip on the TV is saying, and your husband brings

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Speaker 1: home the money, brings home a new wife, a younger wife,

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Speaker 1: probably more. But that's what stuck out. There were so

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Speaker 1: many things he was saying because it was definitely playing

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Speaker 1: the when it was like a bad connection. Yeah, it

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Speaker 1: was obviously doing uh making you pay attention to what

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Speaker 1: was being said. But then you see the pimp is

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Speaker 1: coursing the sex worker for sex, and he says things

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Speaker 1: like you're thirty, you're getting old. He says that I

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Speaker 1: actually I think it may have said f you my

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Speaker 1: text if I say that, all right, don't don't you

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Speaker 1: want kids? Women want kids, don't they And then he

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Speaker 1: calls her a hag. Of course, yeah, but he's like,

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Speaker 1: has sex with me, you hag, Yeah, I'll give you kids.

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Speaker 1: I think he actually like commented us of that. He's gross. Yeah,

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Speaker 1: So you think the vampire is going to kill the

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Speaker 1: sex worker at that scene when she gives her the

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Speaker 1: jewelry that she's stile from the pimp, but she doesn't.

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Speaker 1: And then they have a conversation and the girl like,

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Speaker 1: one of the few lines she says is you don't

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Speaker 1: like what you do. You're sad. The sex worker no

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Speaker 1: longer remembers how to want things when Arasha's father coerces

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Speaker 1: her into taking her when there's a vibe of your

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Speaker 1: wants and needs don't matter, don't fight back, you can't

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Speaker 1: change things. Here's something to numb the pain. There's also

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Speaker 1: a theme of addiction, creating a dependence and maintaining the

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Speaker 1: power structure, kind of a critique on women making do

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Speaker 1: under the patriarchy and numbing ourselves to all the bs

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Speaker 1: and outright horror that it can and tell I've been

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Speaker 1: a long time ago. I read an article about that

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Speaker 1: in terms of women were drinking more wine after Trump

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Speaker 1: got elected and some people were saying, you're basically numbing

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Speaker 1: yourself to put up with the patriarch, right. And I

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Speaker 1: did see a theme between the young girl and the mom,

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Speaker 1: and the mom and the older woman as a motherly

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Speaker 1: again coming back around into calling her a mom because

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Speaker 1: she does have this caring need and the girl seems

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Speaker 1: to need that as well, once again trying to find

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Speaker 1: a connection human spot in the two of them, trying

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Speaker 1: to be um to make sense of their place in

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Speaker 1: that society because you don't see you don't see any

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Speaker 1: mentions of parents moms. You see the father, failing father,

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Speaker 1: addicted father, but not of a matriarchal side, right, And

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Speaker 1: I I was definitely thinking about because we're going to

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Speaker 1: I'm going to assume the girl is older than the sex, right.

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Speaker 1: But so there's this vibe of like she's trying to

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Speaker 1: believe she's attacking these predators, and she's trying to believe

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Speaker 1: that the damage isn't too done, Like is it that

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Speaker 1: this system right that she can't really attack She can

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Speaker 1: attack certain people, yeah, but is it too in place?

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Speaker 1: And so I felt like during that conversation she was

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Speaker 1: trying to get to the bottom of is there hope

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Speaker 1: here right. I wonder if she's just tried to the sadness,

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Speaker 1: because that's both rash and the sex workers like they

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Speaker 1: have the sadness about them, whether it's he lost his car,

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Speaker 1: he just got rejected, he's trying to find his way

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Speaker 1: with for his father, versus she who's just gave up

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Speaker 1: and this is her life now, this is who she is,

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Speaker 1: and she won't even she didn't want to be a mom,

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Speaker 1: she doesn't have that option right now. Like all of

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Speaker 1: those things, I think the whole kind of realm is

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Speaker 1: she's trying to save the sad Yeah, But also on

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Speaker 1: top of that, there definitely is that conversation of revenge

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Speaker 1: which is all steeped in there, and the girl definitely

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Speaker 1: engages in this type of revenge vigilante ism. A lot

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Speaker 1: of it is patriarchy based. She kills a Rasha's father

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Speaker 1: and for mistreating the sex worker and being all around

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Speaker 1: not great people, but she also kills a homeless man,

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Speaker 1: which perhaps is a critique on the hierarchy and the patriarchy.

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Speaker 1: I don't know that through her position in the society

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Speaker 1: as a woman is lower than that of any man

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Speaker 1: around her, and she still has to feed on those

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Speaker 1: in lower positions than her, right, so she's still contributing

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Speaker 1: in a way to this system. And and so she

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Speaker 1: finds someone who hasn't done anything wrong, but unfortunately won't

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Speaker 1: be just it's missing. So it's it's another victim of

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Speaker 1: the patriarchy that is lower than her um. And then

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Speaker 1: we I know we've talked about this before, but when

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Speaker 1: it comes to the question of who and what are monsters,

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Speaker 1: we talked about that in our female Monster episode, because

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Speaker 1: there is just because you have these human people that

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Speaker 1: are bad and she is a vampire, which is a monster,

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Speaker 1: but she's picking off the bad people, and it's just

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Speaker 1: it makes you think about about those kinds of things.

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Speaker 1: And there's a really cool mirroring shot that I love

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Speaker 1: where she's stalking a Rasha's father from across the street,

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Speaker 1: stopping when he stops, like lifting her arm when he

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Speaker 1: lifts his arm. And to me, it's suggested they are

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Speaker 1: both monsters. They're just like two sides of the same coin. Right.

425
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Speaker 1: So we do see the scene where she stops a

426
00:23:51,359 --> 00:23:54,520
Speaker 1: little boy, but she doesn't eat him, instead demanding to

427
00:23:54,560 --> 00:23:56,720
Speaker 1: know if he's a good boy. That whole scene was

428
00:23:56,800 --> 00:23:59,560
Speaker 1: really kind of creepy and then promising to watch him

429
00:23:59,560 --> 00:24:01,639
Speaker 1: and threat thing to rip his eyes out if he

430
00:24:01,720 --> 00:24:04,119
Speaker 1: isn't good, I mean, because that's that's one way to

431
00:24:04,160 --> 00:24:08,520
Speaker 1: do it. And then he stills his skateboard, which, as

432
00:24:08,560 --> 00:24:10,520
Speaker 1: part of the description of the movie is that she

433
00:24:10,600 --> 00:24:13,080
Speaker 1: takes a skateboard and she rides away, so you see

434
00:24:13,119 --> 00:24:15,679
Speaker 1: this floating which you do see with that one perfect

435
00:24:15,720 --> 00:24:20,920
Speaker 1: thing which she glides through scene on the skateboard. And

436
00:24:20,960 --> 00:24:26,000
Speaker 1: then there is this recurrent theme around the reason we're

437
00:24:26,040 --> 00:24:30,320
Speaker 1: all here. Yes, Rash even directly asked the girl why

438
00:24:30,359 --> 00:24:32,879
Speaker 1: are you here? And then later so what are you?

439
00:24:32,920 --> 00:24:37,440
Speaker 1: And he doesn't mean them existentially, but it definitely plays

440
00:24:37,480 --> 00:24:42,280
Speaker 1: that way, especially with her gaze and we as audience

441
00:24:42,320 --> 00:24:46,120
Speaker 1: knowing what she is. Um so yeah, And and they

442
00:24:46,280 --> 00:24:49,320
Speaker 1: end they choose connection, which I think has been a

443
00:24:49,400 --> 00:24:52,040
Speaker 1: kind of a theme, is her searching for connection and

444
00:24:52,119 --> 00:24:55,320
Speaker 1: him searching for connection as well, even though he now

445
00:24:55,400 --> 00:24:59,160
Speaker 1: knows in part about those bad things she alluded to earlier,

446
00:25:00,000 --> 00:25:02,960
Speaker 1: alving her father and her even though she knows he'll

447
00:25:03,000 --> 00:25:08,280
Speaker 1: die either by her hand or through old age. Yeah,

448
00:25:09,400 --> 00:25:12,960
Speaker 1: it's pretty powerful. It's pretty powerful. It's a very It

449
00:25:13,040 --> 00:25:17,480
Speaker 1: was definitely one of those chilling ish movie, but it's

450
00:25:17,560 --> 00:25:23,840
Speaker 1: not overly traumatizing, no, unless, of course, like there are

451
00:25:23,880 --> 00:25:26,200
Speaker 1: definitely some triggers in there with the sex worker for sure,

452
00:25:26,280 --> 00:25:29,520
Speaker 1: for sure, so that's some personal bits absolutely could be

453
00:25:29,680 --> 00:25:32,159
Speaker 1: a little bit traumatizing, but in that level of what

454
00:25:32,200 --> 00:25:36,080
Speaker 1: we see in gore and scare tactics and jumping out,

455
00:25:36,160 --> 00:25:39,000
Speaker 1: that's definitely not a part of this No, not at all.

456
00:25:39,840 --> 00:25:41,960
Speaker 1: So we do have a little bit more for you,

457
00:25:42,560 --> 00:25:45,080
Speaker 1: But first we have one more gup break for word

458
00:25:45,080 --> 00:26:03,080
Speaker 1: from our sponsor, and we're back, Thank you sponsoring. So

459
00:26:03,560 --> 00:26:08,240
Speaker 1: final thoughts, final thoughts on this movie. I think people

460
00:26:08,280 --> 00:26:11,600
Speaker 1: should go back and rewatch it. Go back and rewatch it.

461
00:26:11,640 --> 00:26:14,679
Speaker 1: That's our final, our final buzz. I think there's a

462
00:26:14,680 --> 00:26:17,720
Speaker 1: lot of conversations to be had about loneliness, about connecting,

463
00:26:17,840 --> 00:26:20,920
Speaker 1: especially right now as we're in our self quarantine mode.

464
00:26:21,160 --> 00:26:23,200
Speaker 1: Even though Andy and I are in the studio today,

465
00:26:23,560 --> 00:26:26,800
Speaker 1: but we were safety six feet away from each other

466
00:26:27,119 --> 00:26:31,360
Speaker 1: and we disaffected that everything I brought in my little

467
00:26:31,400 --> 00:26:34,640
Speaker 1: towel to like open doors and shut doors. There's yep,

468
00:26:34,720 --> 00:26:38,400
Speaker 1: and we have multiple wives and hand sanitizers and yesterday

469
00:26:38,480 --> 00:26:41,520
Speaker 1: it was a deep clean apparently very deep clean. Were

470
00:26:41,560 --> 00:26:42,879
Speaker 1: told we couldn't come in for a while because of

471
00:26:42,880 --> 00:26:44,680
Speaker 1: the chemical So yeah, but this is probably the last

472
00:26:44,720 --> 00:26:48,880
Speaker 1: time we'll be from time look out for our videos.

473
00:26:49,000 --> 00:26:50,680
Speaker 1: If you're probably you'll probably say it before we even

474
00:26:50,720 --> 00:26:54,679
Speaker 1: like we release this. I'm guessing um was trying to

475
00:26:54,720 --> 00:26:58,760
Speaker 1: connect through our own home recording sessions and myself, who

476
00:26:58,880 --> 00:27:02,000
Speaker 1: is one fully end up at a lot of technology.

477
00:27:02,080 --> 00:27:06,040
Speaker 1: I should probably document how bad this goes? You should that? Would?

478
00:27:06,119 --> 00:27:08,880
Speaker 1: We need some levity, We need some levity. But yes,

479
00:27:08,960 --> 00:27:10,679
Speaker 1: I'm back on the film. I think again, when we're

480
00:27:10,680 --> 00:27:13,280
Speaker 1: talking about isolation and quarantine, like this is kind of

481
00:27:13,280 --> 00:27:16,040
Speaker 1: one of those that search for what is good, what

482
00:27:16,200 --> 00:27:19,600
Speaker 1: is bad, right, wrong, all of those things. I think

483
00:27:19,600 --> 00:27:23,080
Speaker 1: it does have a lot of conversation and again beautiful screenshots.

484
00:27:23,119 --> 00:27:28,520
Speaker 1: It is screenshots, which it can be, but yes, there

485
00:27:28,560 --> 00:27:30,280
Speaker 1: we go. But if you want to do a screenshot,

486
00:27:30,320 --> 00:27:34,320
Speaker 1: you could do that time totally. I I agree. And

487
00:27:35,480 --> 00:27:41,960
Speaker 1: there's just this overall feeling of emptiness in the city

488
00:27:42,040 --> 00:27:44,720
Speaker 1: is empty, and it feels like the characters are sort

489
00:27:44,760 --> 00:27:52,360
Speaker 1: of an emptiness and loneliness, just pervasive loneliness, And I

490
00:27:52,400 --> 00:27:58,159
Speaker 1: think I like how it ends with sort of I

491
00:27:58,200 --> 00:27:59,960
Speaker 1: don't know what any of this means. I don't know

492
00:28:00,000 --> 00:28:02,360
Speaker 1: why any of us are here, right, but I know

493
00:28:02,520 --> 00:28:05,400
Speaker 1: that I don't want to be alone, right, And that's

494
00:28:05,400 --> 00:28:07,760
Speaker 1: all I know, right. But Hey, for those who are

495
00:28:07,840 --> 00:28:10,920
Speaker 1: kind of alone, it's okay. It is and you have us,

496
00:28:11,280 --> 00:28:15,560
Speaker 1: you do, You're not alone, you do, and we're happy

497
00:28:15,600 --> 00:28:19,520
Speaker 1: to hear hear from you, and we would love your

498
00:28:19,520 --> 00:28:22,800
Speaker 1: suggestions on what movie we should do next. I want

499
00:28:22,840 --> 00:28:25,000
Speaker 1: to do The Last Unicorn, and so does Lauren, so

500
00:28:25,040 --> 00:28:27,040
Speaker 1: that is she said she would do it with us

501
00:28:27,760 --> 00:28:31,960
Speaker 1: or the Empire strikes back. For me. The fourth be

502
00:28:32,119 --> 00:28:35,719
Speaker 1: with you making all the faces you are and I

503
00:28:35,760 --> 00:28:39,720
Speaker 1: don't care all the face I don't care. I am

504
00:28:39,800 --> 00:28:42,640
Speaker 1: who I am, and I am proud of it you are,

505
00:28:42,760 --> 00:28:44,440
Speaker 1: and I am proud of who you are as well.

506
00:28:44,760 --> 00:28:46,560
Speaker 1: Thank you just the show. Just so you know, we

507
00:28:46,600 --> 00:28:49,920
Speaker 1: did choose this film specifically for International Women's Day, which

508
00:28:49,920 --> 00:28:52,680
Speaker 1: has already passed an International women well this Women's Month,

509
00:28:52,800 --> 00:28:56,360
Speaker 1: History month, because we did want to highlight the Iranian

510
00:28:56,440 --> 00:28:59,160
Speaker 1: director Armapor and what she did and what she has

511
00:28:59,160 --> 00:29:02,360
Speaker 1: accomplished with this beautiful film. Um and just to kind

512
00:29:02,360 --> 00:29:06,160
Speaker 1: of reiterate how awesome foreign films are. I can't foreign

513
00:29:06,160 --> 00:29:10,840
Speaker 1: films are you don't know? Yeah, I would say, um,

514
00:29:11,080 --> 00:29:14,320
Speaker 1: don't avoid films. Yeah, subtitled films are great and it's

515
00:29:14,400 --> 00:29:16,680
Speaker 1: good to watch and it's lovely. You're missing out in

516
00:29:16,720 --> 00:29:20,440
Speaker 1: a lot, yeah, if you're if you're just again to

517
00:29:20,480 --> 00:29:22,400
Speaker 1: be fair sometimes like I just want to pass out

518
00:29:22,400 --> 00:29:25,239
Speaker 1: to a movie. Sure, but that there's space for this

519
00:29:25,280 --> 00:29:27,880
Speaker 1: is one of those like, yeah, no, try more things. Remember,

520
00:29:27,920 --> 00:29:30,800
Speaker 1: these movies go beyond. And as in fact, for y'all,

521
00:29:30,880 --> 00:29:33,280
Speaker 1: tell us what movies that we are missing because we

522
00:29:33,320 --> 00:29:36,640
Speaker 1: haven't seen enough international films. Please give us those shout

523
00:29:36,640 --> 00:29:40,400
Speaker 1: out yes and you can do that at our email address,

524
00:29:40,600 --> 00:29:43,320
Speaker 1: Stuff Media, mom Stuff at iHeart media dot com, or

525
00:29:43,480 --> 00:29:45,920
Speaker 1: you can find us on Twitter at mom Stuff podcast

526
00:29:46,080 --> 00:29:48,560
Speaker 1: or on Instagram at stuff I've Never Told You. Thanks.

527
00:29:48,600 --> 00:29:51,640
Speaker 1: It's always to our super producer Andrew Howard. Thank you.

528
00:29:51,960 --> 00:29:55,239
Speaker 1: Thanks to you for listening, and please stay safe and

529
00:29:55,280 --> 00:29:57,959
Speaker 1: healthy out there and get in touch with us if

530
00:29:58,000 --> 00:30:00,160
Speaker 1: you need to, if you want to, we're here for you.

531
00:30:01,160 --> 00:30:03,400
Speaker 1: Stuff I've Never Told He's a production of I Heart Radio.

532
00:30:03,520 --> 00:30:05,440
Speaker 1: For more podcasts from I Heart Radio is the I

533
00:30:05,520 --> 00:30:08,560
Speaker 1: heart Radio app, Apple podcast, or wherever you listen to

534
00:30:08,600 --> 00:30:09,360
Speaker 1: your favorite dos,