One of the most insistent and silly tropes in coming-of-age films is the Preternaturally Articulate Child, the little tyke who functions in the narrative as, essentially, a grown-up trapped in a small body. Sometimes — particularly in that heady period of the late ’80s that gave us Like Father, Like Son, Vice Versa, and Big, among others — we compensate for this awareness with literal body-switch stories, but more often we just put alarmingly adult phrases and observations in the mouths of kids.
A Girl Walks Home Alone At Night
A group of older Zambian women — seated on the ground, penned in by a fence, faces painted and contorted into shrieks, bodies gesticulating wildly, long fluttering ribbons attached to their native dress like leashes — are photographed by smiling white tourists.
My nominee for the most inexplicably overlooked film of 2016, or at least one of the more under-discussed, Pete’s Dragon is that rarest of things: a movie that captures the very feeling of childhood without pandering or talking down to its audience.
Irresistibly billed as “the first Iranian vampire Western,” A Girl Walks Home Alone At Night, writer/director Ana Lily Amirpour’s first feature is a strikingly shot, glacially paced wonder.
Its tagline could’ve included a range of other influences: noir, especially, the early 80’s indie sensibilities of Jim Jarmusch, occasionally the uncanniness of Lynch.