“A Girl Walks Home Alone At Night”: A Powerful Look At the Exploitation of Women
While the director didn't set out to make a feminist film, "A Girl Walks Home Alone At Night" reads as a reclamation of female power in a patriarchal society.

Princess Blanka (Aglaia Morávková) is secretly meeting her beloved, huntsman Ondrej (Jirí Papez). Only the chamber-maid Anezka (Jirina Bohdalová) is in favour of their love but Blanka’s father, the King (Jaroslav Marvan), mustn’t find out anything about it. Blanka is refusing all the bridegrooms the King has invited to the castle. The King has enough of his daughter’s moodiness and shuts her up in the tower. The suitors must search for her and she is to marry the one who finds her first.
While the director didn't set out to make a feminist film, "A Girl Walks Home Alone At Night" reads as a reclamation of female power in a patriarchal society.
The French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time.
Middle school best friends reunite in middle age - Magalie is a chaotic free spirit “freeloader”, Blandine is a divorcée “sourpuss” with severe depression. The Palm Beach Film Festival opening night was glamorous for “Two Tickets to Greece”, the first screening of the French film in the United States.
While the camera is objectifying her body to invoke a sexual response in male viewers, Lara Croft still defies the expectations of women in action films.
The film does not add anything to its own conversation or genre, and falls flat once it’s about to end and must declare some sort of conclusion.
The film exhibits a respect for the craft and an empathy for human tribulations that have historically been ignored.