‘Mona Lisa and the Blood Moon’ Film Review: Ana Lily Amirpour Whips Up a Heady Bourbon Street Cocktail

‘Mona Lisa and the Blood Moon’ Film Review: Ana Lily Amirpour Whips Up a Heady Bourbon Street Cocktail
A pop-culture pastiche artist, filmmaker Ana Lily Amirpour has anchored her now three-strong filmography less around a shared a visual aesthetic or thematic concern than around a very singular vibe: It’s as if the girl walked home alone one night, music in her earbuds, perspective chemically altered, imagination running wild and decided at that moment to spend the rest of her career exploring it in film.

Which is a noble project, don’t get me wrong, especially given the ways Amirpour takes her taciturn female protagonists and sets them loose in wholly different mash-ups. With her debut, “A Girl Walks Home Alone at Night,” she spun a Farsi-language vampire tale that followed the beats of a western; and with her follow-up, “The Bad Batch,” she imagined the post-apocalypse as a particularly bad trip to Burning Man.

And now, with “Mona Lisa and the Blood Moon,” which premiered in competition at Venice on Sunday,
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