Editing Film noir (section)

===2000s and 2010s===
The Coen brothers make reference to the noir tradition again with ''[[The Man Who Wasn't There (2001 film)|The Man Who Wasn't There]]'' (2001); a black-and-white crime melodrama set in 1949; it features a scene apparently staged to mirror one from ''Out of the Past''. Lynch's ''[[Mulholland Drive (film)|Mulholland Drive]]'' (2001) continued in his characteristic vein, making the classic noir setting of Los Angeles the venue for a noir-inflected psychological jigsaw puzzle. British-born director [[Christopher Nolan]]'s black-and-white debut, ''[[Following]]'' (1998), was an overt homage to classic noir. During the new century's first decade, he was one of the leading Hollywood directors of neo-noir with the acclaimed ''[[Memento (film)|Memento]]'' (2000) and the remake of ''[[Insomnia (2002 film)|Insomnia]]'' (2002).<ref>Ballinger and Graydon (2007), pp. 49, 51, 53, 235.</ref>

Director [[Sean Penn]]'s ''[[The Pledge (film)|The Pledge]]'' (2001), though adapted from a very self-reflexive novel by [[Friedrich Dürrenmatt]], plays noir comparatively straight, to devastating effect{{POV statement|date=September 2023}}.<ref>Ballinger and Graydon (2007), p. 50.</ref> Screenwriter [[David Ayer]] updated the classic noir bad-cop tale, typified by ''[[Shield for Murder]]'' (1954) and ''[[Rogue Cop]]'' (1954), with his scripts for ''[[Training Day]]'' (2001) and, adapting a story by James Ellroy, ''[[Dark Blue (film)|Dark Blue]]'' (2002); he later wrote and directed the even darker ''[[Harsh Times (film)|Harsh Times]]'' (2006). Michael Mann's ''[[Collateral (film)|Collateral]]'' (2004) features a performance by [[Tom Cruise]] as an assassin in the lineage of ''Le Samouraï''. The torments of ''[[The Machinist]]'' (2004), directed by [[Brad Anderson (director)|Brad Anderson]], evoke both ''Fight Club'' and ''Memento''.<ref>{{cite magazine|author=Hibbs, Thomas|url=http://www.nationalreview.com/hibbs/hibbs200412030831.asp|title=Bale Imitation|magazine=National Review Online|date=2004-12-03|access-date=2010-02-11|archive-url =https://web.archive.org/web/20090322131118/http://www.nationalreview.com/hibbs/hibbs200412030831.asp|archive-date=2009-03-22}}</ref> In 2005, [[Shane Black]] directed ''[[Kiss Kiss Bang Bang]]'', basing his screenplay in part on a crime novel by [[Brett Halliday]], who published his first stories back in the 1920s. The film plays with an awareness not only of classic noir but also of neo-noir reflexivity itself.<ref>Ballinger and Graydon (2007), pp. 107–109.</ref>

With ultra-violent films such as ''[[Sympathy for Mr. Vengeance]]'' (2002) and ''[[Thirst (2009 film)|Thirst]]'' (2009), [[Park Chan-wook]] of South Korea has been the most prominent director outside of the United States to work regularly in a noir mode in the new millennium.<ref>{{cite web |author=Macaulay, Scott |date=2009-05-19 |title=Cinema with Bite: On the Films of Park Chan-wook |url=http://www.filminfocus.com/article/cinema_with_bite__on_the_films_of_park_chan_wook |url-status=dead |archive-url=https://web.archive.org/web/20090825122606/http://filminfocus.com/article/cinema_with_bite__on_the_films_of_park_chan_wook |archive-date=2009-08-25 |access-date=2009-09-29 |publisher=Film in Focus}} {{cite web |author=Accomando |first=Beth |author-link=Beth Accomando |date=2009-08-20 |title=Thirst |url=http://www.kpbs.org/news/2009/aug/20/thirst/ |url-status=live |archive-url=https://web.archive.org/web/20091005200427/http://www.kpbs.org/news/2009/aug/20/thirst/ |archive-date=2009-10-05 |access-date=2009-09-29 |publisher=KPBS.org}}</ref> The most commercially successful neo-noir of this period has been ''[[Sin City (film)|Sin City]]'' (2005), directed by [[Robert Rodriguez]] in extravagantly stylized black and white with splashes of color.<ref>{{cite web|url=https://boxofficemojo.com/genres/chart/?id=neonoir.htm|title=Neo Noir Movies at the Box Office|website=Box Office Mojo|access-date=2010-09-15|archive-date=2010-08-17|archive-url=https://web.archive.org/web/20100817184313/http://www.boxofficemojo.com/genres/chart/?id=neonoir.htm|url-status=live}}</ref> The film is based on [[Sin City|a series of comic books]] created by [[Frank Miller]] (credited as the film's codirector), which are in turn openly indebted to the works of Spillane and other [[pulp magazine|pulp]] mystery authors.<ref>Naremore (2008), pp. 256, 295–96</ref><ref>Ballinger and Graydon (2007), p. 52.</ref> Similarly, [[graphic novels]] provide the basis for ''[[Road to Perdition]]'' (2002), directed by [[Sam Mendes]], and ''[[A History of Violence (film)|A History of Violence]]'' (2005), directed by [[David Cronenberg]]; the latter was voted best film of the year in the annual ''[[Village Voice]]'' poll.<ref>{{cite web|url=http://www.villagevoice.com/2008-12-31/film/2008-film-poll-results/|title=2008 Film Poll Results|website=Village Voice|date=2008-12-30|access-date=2009-09-29|archive-date=2009-09-01|archive-url=https://web.archive.org/web/20090901132553/http://www.villagevoice.com/2008-12-31/film/2008-film-poll-results|url-status=dead}}</ref> Writer-director [[Rian Johnson]]'s ''[[Brick (film)|Brick]]'' (2005), featuring present-day high schoolers speaking a version of 1930s hardboiled argot, won the Special Jury Prize for Originality of Vision at the [[Sundance Film Festival]]. The television series ''[[Veronica Mars]]'' (2004–07, 2019) and the movie ''[[Veronica Mars]]'' (2014) also brought a youth-oriented twist to film noir. Examples of this sort of generic crossover have been dubbed "teen noir".<ref>Naremore (2008), p. 299</ref><ref>{{Cite news|author=Hughes, Sarah|url=https://www.theguardian.com/film/2006/mar/26/features.review1|title=Humphrey Bogart's Back—But This Time Round He's at High School|newspaper=The Guardian|date=2006-03-26|access-date=2010-10-10|archive-date=2017-08-31|archive-url=https://web.archive.org/web/20170831002500/https://www.theguardian.com/film/2006/mar/26/features.review1|url-status=live}}</ref>

Neo-noir films released in the 2010s include [[Kim Jee-woon]]’s ''[[I Saw the Devil]]'' (2010), Fred Cavaye’s ''[[Point Blank (2010 film)|Point Blank]]'' (2010), [[Na Hong-jin]]’s ''[[The Yellow Sea (film)|The Yellow Sea]]'' (2010), [[Nicolas Winding Refn]]’s ''[[Drive (2011 film)|Drive]]'' (2011),<ref>{{cite web |url=http://www.tasteofcinema.com/2014/the-20-best-neo-noir-films-of-the-2000s/ |title=The 20 Best Neo-Noir Films Of The 2000s |publisher=Tasteofcinema.com |date=2014-05-03 |access-date= |first=Terek |last=Puckett |archive-date=2022-06-02 |archive-url=https://web.archive.org/web/20220602061256/http://www.tasteofcinema.com/2014/the-20-best-neo-noir-films-of-the-2000s/ |url-status=live }}</ref> [[Claire Denis]]' ''[[Bastards (2013 film)|Bastards]]'' (2013)<ref>{{cite journal |url=https://www.filmcomment.com/article/claire-denis-bastards-review/ |title=Review: Bastards |last=Nelson |first=Max |journal=[[Film Comment]] |issue=September/October 2013 |access-date=2017-06-03 |archive-date=2017-11-28 |archive-url=https://web.archive.org/web/20171128221809/https://www.filmcomment.com/article/claire-denis-bastards-review/ |url-status=live }}</ref><ref>{{cite web |url=https://www2.bfi.org.uk/news-opinion/sight-sound-magazine/comment/festivals/cannes-2013-this-noir |title=This is Noir: The Bastards |last=Taubin |first=Amy |author-link=Amy Taubin |website=[[Sight & Sound]] |date=2013 |access-date=2017-06-03 |archive-date=2017-11-17 |archive-url=https://web.archive.org/web/20171117095001/http://www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/festivals/cannes-2013-this-noir |url-status=live }}</ref> and [[Dan Gilroy]]'s ''[[Nightcrawler (film)|Nightcrawler]]'' (2014).