Abhinava Venkata Krishna Marrivagu

A Girl Walks Home Alone at Night sells itself as feminist but ends up glorifying violence against the most vulnerable—homeless people, addicts, and children—without any real analysis of their suffering or the systems that trap them. The heroine is beautiful, mysterious, and deadly, fitting neatly into Western standards of female desirability, which undermines any real challenge to patriarchal norms. Meanwhile, the film turns violence into a stylish revenge fantasy rather than a tool for justice. The romantic subplot centers a heterosexual dynamic that feels less like liberation and more like patriarchal repetition. There’s no class analysis, no solidarity, just cold, aestheticized domination disguised as empowerment. It’s infuriating—wasted potential masked by glossy noir imagery, ultimately reinforcing the very oppression it pretends to fight.