Neonoir Criterion Channel Teaser

While film noir had its heyday in the disillusioned postwar era of the 1940s and 50s, its seductively moody style and dark, cynical edge have continued to inspire more recent filmmakersfreed from the constraints of the Production Codeto put their own, often subversive stamps on the genre. Featuring unforgettable femmes fatales (Kathleen Turner in the DOUBLE INDEMNITYinspired BODY HEAT, Linda Fiorentinos icecold bad girl in THE LAST SEDUCTION) and worldweary private eyes (Jack Nicholson in CHINATOWN; Elliott Gould and Robert Mitchum offering their respective takes on Raymond Chandlers legendary detective Philip Marlowe in THE LONG GOODBYE and FAREWELL, MY LOVELY), this selection of some of the finest neonoirs spotlights the myriad ways in which the hardboiled vocabulary of noir has endured and evolved over the decades. From the blaxploitation boom (ACROSS 110TH STREET) to Hollywoods postWatergate cynicism (NIGHT MOVES, CUTTERS WAY) to the New Queer Cinema (SWOON) and beyond, these films prove that