Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch
For the information of those too productive and healthy to bother concerning themselves with such tawdry insignificances, one of the darlings of the degenerate art house crowd at present is Iranian-American director Ana Lily Amirpour. Her 2014 debut feature film, A Girl Walks Home Alone at Night, has been roundly applauded and hailed as the world’s first “Iranian vampire western”. Much attention – much of it not unjustified – has been heaped onto its visual flair and deep atmospheric qualities; but A Girl Walks Home Alone at Night is a movie which – this writer intends to argue – has not been properly understood and appreciated for what might be termed its payload of extra-filmic resonances.
Ed Sikov, the author of Film Studies: An Introduction, has the following to say about extra-filmic significances:
One aspect of film studies that has no counterpart in literary analysis is that film audiences know quite a bit of information about the stars they follow, and they bring that information to the films they see. [. . .] When we see a movie for the first time, we may know something not only about the director and the genre; we may also know something about the star’s personal as well as professional life – the state of his or her current marriage, whether he or she has had a drug or alcohol addiction in the past, what designer made the gown she wore at the last Oscars ceremony, which political party the star supports, and so on. All of this information comes to us under the general heading of PUBLICITY. Publicity is [. . .] the creation and maintenance of a star’s persona by extra-filmic means – not the roles in which they appear onscreen, but the magazines and television shows and websites in which they appear offscreen.
A Girl Walks Home Alone at Night stars Sheila Vand as the titular “Girl”, a vigilante vampire who stalks the shadowy streets of Bad City, Iran, and kills bad men. Complex’s Tara Aquino provides the background on the actress who bears the fangs:
Sheila Vand knows she’s about to confuse the hell out of you. Her two breakout acting roles are dropping this week — State of Affairs hit NBC last night and A Girl Walks Home Alone at Night is in theaters Friday—but they couldn’t be farther apart. The former, led by Katherine Heigl, is a political drama that deals with the inner workings of the CIA, while the latter, directed by newcomer Ana Lily Amirpour, is an Iranian vampire western. For State, Vand is a brainy CIA Secretary of Defense briefer who plays BFF with Heigl; for Girl, Vand is a centuries-old vampire who sucks the life out of misbehaving men and avenges scorned women. So, you know, this week is pretty clutch for Vand’s acting reel, which also includes a small part in [neocon potboiler] Argo.
Extra-filmically, then, and in terms of a twilight reading, Vand – through the interrelation of these three intriguingly coinciding movie and TV roles – represents the weaponization of Iranian women through culture distortion for Zionist-imperialist purposes. Likewise, Dominic Rains, who plays the disgusting pimp Saeed in A Girl Walks Home Alone at Night, also has a credit as “CIA Instructor” in Captain America: The Winter Soldier. Here, then, are two “Iranian” actors who are not Iranians, both of whom have also portrayed CIA personnel – a synchronicity almost too delicious to be accepted as a mere casting coincidence.
Anybody who knew nothing more about Iran that what is presented in Amirpour’s opus, which is consistently identified in reviews as an “Iranian” film and an “Iranian vampire western”, would assume that the place was a desolate hellhole of despair peopled by party girls, pimps, prostitutes, drug addicts, and transvestites. Large William, co-host of the Gentlemen’s Guide to Midnite Cinema podcast, offers a needed corrective:
It gets under my skin a bit. This is being sold [. . .] as an Iranian vampire spaghetti western or something to that effect. That’s a bit dishonest [. . .] This is not an Iranian film. This is an Iranian-American film. Ana Lily Amirpour was not born in Iran [. . .] I think most of the cast [. . .] was Iranian-American. I understood why this was being sold as an Iranian film, because there’s a certain connotation and a certain, um, trailblazer, maverick, really impressive kind of water cooler discussion piece about, “Wow, can you imagine, in a country that can be as, as artistically and culturally oppressive as Iran, this woman was able and was brave enough to make this cool little film.” [. . .] It’s an American film. It’s shot in America, some of the crew is American [. . .] The way they sold it, I gotta call bullshit on that [. . .]
Indeed, though the actors deliver all of their lines in Farsi, a notice at the end of the credits reads, “This film was supported by the Sundance Institute Feature Film Program.” Large William himself contributes to the ruse behind the movie’s subliminal propaganda campaign, however, when he laments in the midst of these remarks that, “It’s too bad that there’s so much oppression over there. [. . .] It’s a shame that more stuff can’t get out of there.”
Critics both professional and amateur are eager to celebrate the movie’s dubious “Iranian” credentials, particularly in conjunction with its cultural Marxist current – which is to say, its subversive Judaic sensibility. Mark Kermode is ecstatic at the movie’s palpable misandry:
There’s a subversive intelligence at work in this scattershot cultural literacy (Amirpour also developed a graphic novel alongside the film), placing together oxymoronic elements that knowingly bridge the gap between east and west, ancient and the modern. [. . .]
It all adds up to a deliriously disorienting experience that can be read as either political parable or pulpy potboiler – preferably both. As an American offshoot of the Iranian new wave (this is billed, somewhat cheekily as “the first Iranian vampire western”), it’s a defiant statement of girl power, a modern twist on the Reclaim the Night battle cries of international feminism set against the backdrop of oppressively dysfunctional patriarchy. [Ugh – Ed.] Yet Amirpour never lets a message get in the way of a good tune, taking palpable delight in spinning the reels like a cinematic DJ, keeping the crowd on their toes, wrong-footing their dance moves.
Salon’s Andrew O’Hehir is alert to at least a portion of A Girl Walks Home Alone at Night’s intentions when he points to its intended impact as a simultaneous strike on traditional culture in both Iran and the United States:
In her own way, the Girl is pursuing a campaign of revenge against the theocratic oppression of women, and also against the more familiar Westernized version of misogyny represented by Saeed (Dominic Rains), the coke-snorting, tattooed and bling-clad pimp and dealer who takes Arash’s T-Bird. Between the predatory Saeed and the pathetic Hossein, you can feel a lamentation for two failed generations of Iranian men, consumed by lust, selfishness and hypocrisy. [. . .]
This really is an American film and an Iranian film at the same time [. . .] It marks an entirely new way of assimilating the immigrant experience, in this case by exploring the connections between Iran and the enormous expat community in Southern California on a subterranean and psychological level.
An interview with Ana Lily Amirpour in the Los Angeles Times reinforces the feminist theme – and, by implication, the anti-Islamic and culturally interventionist attitude – of the publicity surrounding the film:
My parents have always supported every curiosity I had. They’re very progressive. My dad is like a rebel. His family was Muslim and he was a self-proclaimed atheist. He’s a scientist. He values reason and decency. He doesn’t appreciate lazy thinking. [. . .]
[A Girl Walks Home Alone at Night is] about characters and what they’re going through. In this case, it’s really about loneliness [i.e., individualism]. A vampire is the loneliest, most isolated cut-off type of creature. She also has something very bad to hide about who she is and it’s a brilliant disguise. It becomes a way to stay under the radar and underestimated. There are a million ways to read it. It will tell you more about you than it does about me. What’s interesting is that now people are posting pictures of themselves dressed as the Girl and it makes the chador [a traditional Iranian women’s garment] a cool [i.e., subversive pop culture] thing.
In Iran, I have had to wear a hijab, and personally I find it completely suffocating. I don’t want to be covered up in all that cloth.
The Sundance Institute, which sponsored A Girl Walks Home Alone at Night, is funded by wealthy individual Jews, Jewish philanthropic foundations, such public squanderings as the National Endowment for the Arts, the National Endowment for the Humanities, and the President’s Committee on the Arts and the Humanities, and huge corporations like Zions Bank – an organization whose politics become immediately apparent when one considers that Zions Bank’s Trade and Business Conference has more than once hosted Brett Stephens, the Zionist Jew imperialist Deputy Editor of the Wall Street Journal, as an authority on Middle Eastern affairs. The “best foreign affairs columnist on the planet”, as Stephens has been described, took advantage of this year’s conference to hawk the New Cold War and suggest that, “If America is to prosper at home, it needs to be secure abroad.” Also appearing was former British Prime Minister John Major, who reminded his audience of “the persistent threat of aggression and terrorism from Russia and Iran”.
At Zions Bank’s 2011 confab, Stephens averred that Iran’s Mahmoud Ahmadinejad was “prepared to kill an unlimited number of people to hold onto power” and went on to warn his audience that Iran “could, um, with further enrichment, build as many as five nuclear devices in the next year.” The existential threat to Israel, Stephens explains, is inextricably connected with Iran’s sexual backwardness. “A country that is prepared to take a stone in its right hand to execute a defenseless woman, as Iran routinely does, should not be given a nuclear weapon in its left hand to lob at its defenseless, um, neighbors.”
It is most significant that Stephens expresses concern about the trenchantly anti-Zionist worldview prevailing among rising generations of Muslims. In particular, he bemoans the popularity of “conspiracy theories” among young Middle Easterners. “9/11 denialism – or, I guess what we would call, the truther concept – is ubiquitous throughout the Middle East. Um, so is a form of Jew hatred – of open Jew hatred – that hasn’t existed in the West since the fall of the Nazi regime in 1945.” Stephens, addressing the alarming fecundity of populations in the Islamic world and the strikingly pyramidal structure of their age distribution, has this to say:
Now, if older societies tend to be, uh, more cautious, a little slower, perhaps, uh, somewhat wiser, younger societies are just the opposite. They’re idealistic but impetuous, susceptible to radical ideas – both good radical ideas like liberalism and democracy, but also bad radical ideas like, uh, uh, jihadism and, and Islamist fundamentalism. They’re easily inspired and they’re just as easily bored. Young societies also have needs that are difficult for any government – even the most, uh, progressive and, and, uh, efficient ones to accommodate easily. They need education. [. . .] They need to find, uh, spouses, and they need to support families, and they need to find the right balance of opportunity and stability. [. . .] Middle Eastern, uh, countries have been failing their youths for decades in every single respect except one, which is of course their ability to produce an ever larger youth cohort. [. . .] What we have in a nutshell is the energy and the courage of the young, but that is shorn of the wisdom, the leadership, and perhaps the sense of restraint of the old. Now the final explanation I would offer for the disappointments of the Middle East is [. . .] the closing of the Muslim mind. Although there’s a lot of talk today about how a new generation of young Muslims is reaching for new ideas using the digital tools of social media – Twitter, Facebook, and so on – the overpowering impression of any visitor, certainly any journalist, who spends time in Cairo, or Gaza, or, uh, Fez, or Islamabd, is how accepted and commonplace, totally lunatic ideas, conspiracy theories [. . .] have become in these parts of the world.
This is where culture – pop culture – comes in, in shaping the minds of tomorrow’s puppets and agitators for Mideast liberalism and sexual anarchy. How better to combat that disturbing fertility, that hateful persistence of patriarchy, and that undying hatred of Jews than by turning the Muslims into Jews by infiltrating and subverting them with a virulent Culture-disease? Vampirism – as has been discussed here and here – is frequently a symbolic stand-in for Jewry.
Sheila Vand, in a Salon interview, reveals her character’s backstory as posited by Amirpour:
She was a village girl. She lived in a village and she caught a fever and she was basically on her way to dying. There was a vampire in the village who had always watched her, and who kind of ended up saving her life by turning her. She went with him to spend some time outside of Iran for a while, then came back to Iran during the violent years of the revolution and went on a killing spree of her own. [. . .]
I think there’s something sexy about vampires because they’re eternal creatures, they’re very catlike. There’s something really elegant about the way they kill. All of their power is just in their fangs and the fact that they’re not ravenous murderers. I always say vampires are the snipers of monsters. [. . .]
And they’re addicts, they’re addicted to blood. I don’t know what it is, but I think there’s something in the culture about the fascination with addiction. There’s movies about drugs, junkies . . . I don’t know why we glorify those things but clearly there’s something we see in that that we’re attracted to.
The crypto-Jewess heroine, Vand says, is a “sniper” – a symbolic Bride not of Frankenstein’s monster, but of neocon fetish American Sniper murderer Chris Kyle. Here, too, from the star herself, is a frank admission that she and her film industry colleagues “glorify those things” – drug addiction, bloodletting, and parasitism. As A Girl Walks Home Alone at Night’s financial provenance reveals, it links the two prongs of the globalist-Zionist assault – the cultural-economic and the military.
A Girl Walks Home Alone at Night was spotlighted by the Contenders film series presented by the Museum of Modern Art in partnership with the Hammer Museum, the former sponsored by Zionist clients Goldman Sachs and the Wall Street Journal, and the latter subsidized by such other Israel-friendly entities as Warner Bros., NBCUniversal, J.P. Morgan, and Tiffany & Co. “It would appear that most people don’t readily associate diamonds with Israel and its war crimes,” notes the website Innovative Minds; however, the “reality is that Israel’s diamond industry is a main source of funding for the Israeli military ($1 billion every year according to testimony given at the Russell Tribunal in Nov 2010).” Innovative Minds reveals of this illustrious diamond seller that:
Tiffany’s is in close partnership with Israel’s Steinmetz Diamonds Group. The Steinmetz Diamond Group through the Steinmetz Foundation funds and supports the notorious Givati Brigade of the Israeli army. The Givati Brigade stands accused of war crimes and possible crimes against humanity by the United Nations Human Rights Council.
The Givati Brigade is responsible for the massacre of the Samouni family in Gaza during Operation Cast Lead. Six years ago, on 4th January 2009 the Givati Brigade rounded up 100 members of the Samouni family and ordered them into the house of Wa’el Samouni. The house was then bombed, and rescue services were prevented from approaching for four days, with ambulances being fired on. When rescue workers were finally allowed access, they found buried beneath the rubble, traumatised children besides the corpses of their parents and siblings. The Givati had massacred 29 family members and in case anyone mistook their intent they left a message on one of the remaining walls of the house, daubed in Hebrew it read “The only good Arab is a dead Arab”.
The Foundation’s website boasted of “adopting” a unit of the Givati brigade, of “fostering close relationships with the commanders and their soldiers”, of “buying equipment” for them specifically during Operation Cast Lead, that is, during their slaughter of the Samouni family.
Amirpour comes across as more of a cultural lemming and dupe than a consciously Zionist asset and plaything; but in the end it hardly matters whether those who devote their lives to degrading the planet and Judaizing its civilizations are willful actors in these agendas or not. She definitely assumed, furthermore, that her film would eventually find an Iranian following.
At the Contenders screening, Amirpour was interviewed by Roger Corman about her intentions and inspirations in creating the film. Corman more than once attempts to goad Amirpour into making a statement on her movie’s relevance to the Iran of today, but she is evasive and clearly unwilling to commit herself on the record to a foreign policy position. “There might be some suggested something,” is the best Corman is able to get out of her. Vand, however, is less reticent as to where her sympathies lie. “LONG LIVE 1970s IRAN,” Vand has proclaimed on her Facebook page – the seventies, of course, having been the waning period of the Israel-friendly Pahlavi dynasty.
Amirpour implicitly concedes her film’s hostility toward the established order in Iran when she says that to have attempted to film it in that country would have been a “suicide mission”. “As soon as it gets to DVD I’m sure they’ll get it [in Iran],” the director consoles herself. “The black market, they get everything.” When Corman asks her directly whether authorities in Iran would be likely to censor A Girl Walks Home Alone at Night, a clearly indifferent Amirpour deadpans, “I’m pretty sure there would be problems.”
Zionist endgame for Iran, failing or possibly obviating its military obliteration by Israel’s lackey the United States, is its degeneration into a stinking morass of deracinated and demoralized person-units of economic and biological consumption – the conversion of its youth into people like this through the likes of dangerously catchy cultural Marxist riffraff like Amirpour, who sums up her own identity like this:
Um, I think the things that happen in the film happen inside me and they happen in all the places in the world that I’ve been to, which is loneliness, um, being misunderstood, wanting to find a connection, um, feeling isolated. Um, I feel like there’s a heaviness that lots of societies wear, and I don’t really think it’s a geographically specific thing, um, for me. For me, it’s a very personal, very, very personal thing, you know. All the characters in the story the way I see them are isolated and grappling with something that keeps them away from other people and from their selves and from knowing what they want and figuring out how to get that. It’s like, [a] really existential, personal kind of thing. So, but I feel those things become universal when you go inside and harvest, and I’m made out of Iranian stuff. And I was also born in Europe and I was raised here. I lived in Miami and then I had my puberty in Bakersfield and the desert mall country with Mexican gangs and malls, you know, I – so I’m a stew. I feel like that’s one of the [presumably great] things about America, too, we’re such a stew.
These are the western world’s exports, its gifts to the Middle East – alienation, atomization, crime, filth, merchandise, debt, decay, materialism, and demographic muddle – or “stew”, to be more concise. The aforementioned Large William, a cultural-cuckold Canadian and an ethnomasochist to the core, exhibits the spiritual sickness peddled by Hollywood Jews when he enthuses with reference to Amirpour:
Any time we can get women behind the camera, it’s a good thing. Any time we can get a minority behind the camera to tell their story through their eyes, and either consciously or subconsciously, through the filter they’ve seen life through, is a good thing. When you combine those two, it’s wonderful.
Translation: A Girl Walks Home Alone at Night is even better because it was made by a non-white person with a vagina.
Asked by Corman whether she identifies with the Girl, the vampire, Amirpour answers, “I do. [. . .] There must be vampires. It’s like the movie is a mating call to come to me. Take me and please let me join your crew.” Laughing, Corman replies, “To a certain extent, you might say as a filmmaker you feed upon the audience, so you could be a symbolic vampire there.”
Congratulations, Miss Amirpour! Your globalist hack Shabbos goy membership card is in the mail!