Those hailing American-Iranian director Ana Lily Amirpour as being at the forefront of a new feminist wave of filmmaking seem to be somewhat mistaken, an opinion which Amirpour has certainly advanced as well. It is easy to see where that lapse might've happened; the premise and its title are more direct and political than the film actually is. Its 'feminist' violence is perfunctory and not at all the point of the film. Amirpour seems to enjoy this deceit, especially in a particular cinematic sphere that is so eager to make female directors of color their new clarion call of equality. She is certainly not among its best examples, even if she wasn't hell-bent on evading such a position, given her casual racism in interviews about and casting choices in The Bad Batch (2017). Amirpour sits at a strange disjunction as a director—a seeming fangirl of bad-boy (and some, bad men) directors and their repertoires, but also occupying a space of defiance and individuality. Perhaps we will track her evolution as she navigates a forest of selves through her next few films, hoping for a politics as nuanced, intriguing, and thoughtful as her style.