Real psychiatric hospitals haven’t used straitjackets for decades, but no self-respecting genre filmmaker is going to let that get in her way. From the moment Mona Lisa And The Blood Moon provides …
is an Iranian-born British director who made her name in 2010 with a wholly original vampire film, shot in elegant black and white and set in Teheran, called. Amirpour played the vampire herself, swathed in a burka as she paced the foggy streets, sinking her fangs into any man who thought he had the upper hand.
Her new film is also a revenge fantasy firmly on the side of outsiders and outcasts, set this time in traditionally spooky New Orleans. Mona Lisa uses the nurse’s keys to escape and hits Crescent City. She finds her tribe among the local drug dealers and strippers, all of whom are disinclined to cooperate with police trying to find a runaway, even a mad one.plays swamp rat Bonnie Belle, an aging pole-dancer with a heart of brass, who takes Mona in.
In terms of style, however, the two films seem to have been made using different toolboxes. Gone is the sobriety of black and white; Amirpour here evokes the vulgar energy of New Orleans using vividly saturated color filtered through wackily distorting lenses. A symphony of lighting effects makes the most of fireworks, neon signs, the dashboard lights catching the disco ball in the car driven by drug dealer Fuzz .
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