Editing Film noir (section)

==Neo-noir and echoes of the classic mode==
{{See also|Neo-noir}}
The neo-noir film genre developed mid-way into the Cold War. This cinematological trend reflected much of the cynicism and the possibility of nuclear annihilation of the era. This new genre introduced innovations that were not available to earlier noir films. The violence was also more potent.<ref name="Schwartz">{{cite web |url=http://chapters.scarecrowpress.com/08/108/081085676Xch1.pdf |title=Neo-Noir The New Film Noir Style from Psycho to Collateral |last=Schwartz |first=Ronald |publisher=The Scarecrow Press Inc. |year=2005 |access-date=2013-03-31|url-status=dead |archive-url=https://web.archive.org/web/20131104224706/http://chapters.scarecrowpress.com/08/108/081085676Xch1.pdf |archive-date=2013-11-04}}</ref>

===1960s and 1970s===
While it is hard to draw a line between some of the noir films of the early 1960s such as ''[[Blast of Silence]]'' (1961) and ''[[Cape Fear (1962 film)|Cape Fear]]'' (1962) and the noirs of the late 1950s, new trends emerged in the post-classic era. ''[[The Manchurian Candidate (1962 film)|The Manchurian Candidate]]'' (1962), directed by [[John Frankenheimer]], ''[[Shock Corridor]]'' (1963), directed by [[Samuel Fuller]], and ''[[Brainstorm (1965 film)|Brainstorm]]'' (1965), directed by experienced noir character actor [[William Conrad]], all treat the theme of mental dispossession within stylistic and tonal frameworks derived from classic film noir.<ref name=u284286/> ''The Manchurian Candidate'' examined the situation of [[Korean War POWs detained in North Korea|American prisoners of war]] (POWs) during the [[Korean War]]. Incidents that occurred during the war as well as those post-war functioned as an inspiration for a "Cold War Noir" subgenre.<ref>{{cite web |url=http://www.koreanconfidential.com/koreanpowfilmnoir.html |title=Cold War Noir and the Other Films about Korean War POWs |access-date=2013-03-31|url-status=dead |archive-url=https://web.archive.org/web/20130218203603/http://www.koreanconfidential.com/koreanpowfilmnoir.html |last=Sautner|first=Mark|archive-date=2013-02-18}}</ref><ref name="Conway">{{cite web |url=http://www.articledestination.com/Article/Korean-War-Film-Noir--the-POW-Movies/12753 |title=Korean War Film Noir: the POW Movies |last=Conway |first=Marianne B. |access-date=2013-03-31 |url-status=dead |archive-url=https://web.archive.org/web/20130217064144/http://www.articledestination.com/Article/Korean-War-Film-Noir--the-POW-Movies/12753 |archive-date=2013-02-17}}</ref> The television series ''[[The Fugitive (1963 TV series)|The Fugitive]]'' (1963–67) brought classic noir themes and mood to the small screen for an extended run.<ref name=u284286>Ursini (1995), pp. 284–86; Ballinger and Graydon (2007), p. 278.</ref>

[[File:1BelmondoDoesBogey.jpg|thumb|left|alt=Black-and-white image of a man seen from mid-chest up, wearing a fedora and a jacket with a houndstooth-like pattern. He holds a cigarette between the middle and index fingers of his left hand and strokes his upper lip with his thumb. He stands in front of what appears to be a mirrored doorway.|As car thief Michel Poiccard, a.k.a. Laszlo Kovacs, [[Jean-Paul Belmondo]] in ''[[Breathless (1960 film)|À bout de souffle]]'' (''Breathless''; 1960). Poiccard reveres and styles himself after [[Humphrey Bogart]]'s screen persona. Here he imitates a characteristic Bogart gesture, one of the film's [[Motif (narrative)|motifs]].<ref>Appel (1974), p. 4.</ref>]]
In a different vein, films began to appear that self-consciously acknowledged the conventions of classic film noir as historical [[archetypes]] to be revived, rejected, or reimagined. These efforts typify what came to be known as neo-noir.<ref>Ballinger and Graydon (2007), p. 41.</ref> Though several late classic noirs, ''[[Kiss Me Deadly]]'' (1955) in particular, were deeply self-knowing and post-traditional in conception, none tipped its hand so evidently as to be remarked on by American critics at the time.<ref>See, e.g., ''Variety'' (1955). For a latter-day analysis of the film's self-consciousness, see Naremore (2008), pp. 151–55. See also Kolker (2000), p. 364.</ref> The first major film to overtly work this angle was French director [[Jean-Luc Godard]]'s ''[[À bout de souffle]]'' (''Breathless''; 1960), which pays its literal respects to Bogart and his crime films while brandishing a bold new style for a new day.<ref>Greene (1999), p. 161.</ref> In the United States, [[Arthur Penn]] (1965's ''[[Mickey One]]'', drawing inspiration from Truffaut's ''[[Shoot the Piano Player|Tirez sur le pianiste]]'' and other [[French New Wave]] films), [[John Boorman]] (1967's ''[[Point Blank (1967 film)|Point Blank]]'', similarly caught up, though in the ''[[French New Wave|Nouvelle vague']]''s deeper waters), and [[Alan J. Pakula]] (1971's ''[[Klute]]'') directed films that knowingly related themselves to the original films noir, inviting audiences in on the game.<ref>For ''Mickey One'', see Kolker (2000), pp. 21–22, 26–30. For ''Point Blank'', see Ballinger and Graydon (2007), pp. 36, 38, 41, 257. For ''Klute'', see Ballinger and Graydon (2007), pp. 114–15.</ref>

A manifest affiliation with noir traditions—which, by its nature, allows different sorts of commentary on them to be inferred—can also provide the basis for explicit critiques of those traditions. In 1973, director [[Robert Altman]] flipped off noir piety with ''[[The Long Goodbye (film)|The Long Goodbye]]''. Based on the novel by Raymond Chandler, it features one of Bogart's most famous characters, but in [[iconoclasm|iconoclastic]] fashion: Philip Marlowe, the prototypical hardboiled detective, is replayed as a hapless misfit, almost laughably out of touch with contemporary [[mores]] and morality.<ref>Kolker (2000), pp. 344, 363–73; Naremore (2008), pp. 203–5; Ballinger and Graydon (2007), pp. 36, 39, 130–33.</ref> Where Altman's subversion of the film noir mythos was so irreverent as to outrage some contemporary critics,<ref>Kolker (2000), p. 364; Ballinger and Graydon (2007), p. 132.</ref> around the same time [[Woody Allen]] was paying affectionate, at points idolatrous homage to the classic mode with ''[[Play It Again, Sam (1972 film)|Play It Again, Sam]]'' (1972). The "[[blaxploitation]]" film ''[[Shaft (1971 film)|Shaft]]'' (1971), wherein [[Richard Roundtree]] plays the titular African-American private eye, [[John Shaft]], takes conventions from classic noir.

The most acclaimed of the neo-noirs of the era was director [[Roman Polanski]]'s 1974 ''[[Chinatown (1974 film)|Chinatown]]''.<ref>{{Cite news|url=https://www.independent.co.uk/arts-entertainment/films/the-ten-greatest-neo-noir-films-a7340126.html|title=10 best neo-noir films of all time: From Chinatown to LA Confidential|author=Ross, Graeme|date=March 11, 2019|publisher=[[The Independent]]|website=independent.co.uk|access-date=August 27, 2017|archive-date=January 22, 2018|archive-url=https://web.archive.org/web/20180122113842/http://www.independent.co.uk/arts-entertainment/films/the-ten-greatest-neo-noir-films-a7340126.html|url-status=live}}</ref> Written by [[Robert Towne]], it is set in 1930s Los Angeles, an accustomed noir locale nudged back some few years in a way that makes the pivotal loss of innocence in the story even crueler. Where Polanski and Towne raised noir to a black apogee by turning rearward, director [[Martin Scorsese]] and screenwriter [[Paul Schrader]] brought the noir attitude crashing into the present day with ''[[Taxi Driver]]'' (1976), a crackling, bloody-minded gloss on bicentennial America.<ref>Kolker (2000), pp. 207–44; Silver and Ward (1992), pp. 282–83; Naremore (1998), pp. 34–37, 192.</ref> In 1978, [[Walter Hill (filmmaker)|Walter Hill]] wrote and directed ''[[The Driver]]'', a chase film as might have been imagined by Jean-Pierre Melville in an especially abstract mood.<ref>Silver and Ward (1992), pp. 398–99.</ref>

Hill was already a central figure in 1970s noir of a more straightforward manner, having written the script for director [[Sam Peckinpah]]'s ''[[The Getaway (1972 film)|The Getaway]]'' (1972), adapting a novel by pulp master [[Jim Thompson (writer)|Jim Thompson]], as well as for two tough private eye films: an original screenplay for ''[[Hickey & Boggs]]'' (1972) and an adaptation of a novel by [[Ross Macdonald]], the leading literary descendant of Hammett and Chandler, for ''[[The Drowning Pool (film)|The Drowning Pool]]'' (1975). Some of the strongest 1970s noirs, in fact, were unwinking remakes of the classics, "neo" mostly by default: the heartbreaking ''[[Thieves Like Us (film)|Thieves Like Us]]'' (1974), directed by Altman from the same source as Ray's ''They Live by Night'', and ''[[Farewell, My Lovely (1975 film)|Farewell, My Lovely]]'' (1975), the Chandler tale made classically as ''Murder, My Sweet'', remade here with Robert Mitchum in his last notable noir role.<ref>For ''Thieves Like Us'', see Kolker (2000), pp. 358–63. For ''Farewell, My Lovely'', see Kirgo (1980), pp. 101–2.</ref> Detective series, prevalent on American television during the period, updated the hardboiled tradition in different ways, but the show conjuring the most noir tone was a horror crossover touched with shaggy, ''Long Goodbye''-style humor: ''[[Kolchak: The Night Stalker]]'' (1974–75), featuring a Chicago newspaper reporter investigating strange, usually supernatural occurrences.<ref>Ursini (1995), p. 287.</ref>

===1980s and 1990s===
[[File:StoneSmoking.jpg|thumb|alt=A blonde woman wearing a white jacket, top, and short skirt, her face half in shadow, sitting in an arm chair with her legs crossed. She holds a cigarette to her mouth with her right hand, and raises a lighter with her left. Behind her is dark furniture and the corner of the room, walled with white brick. From between the furniture and walls, unseen, floor-level lights cast a bluish glow over the scene.|[[Sharon Stone]] as [[Catherine Tramell]], archetypal modern [[femme fatale]], in ''[[Basic Instinct]]'' (1992). Her diabolic nature is underscored by an "extra-lurid visual code", as in the notorious interrogation scene.<ref name=W209>Williams (2005), p. 229.</ref>]]

The turn of the decade brought Scorsese's black-and-white ''[[Raging Bull]]'' (1980, cowritten by Schrader). An acknowledged masterpiece{{--}}in 2007 the [[American Film Institute]] ranked it as the greatest American film of the 1980s and the fourth greatest of all time{{--}}it tells the story of a boxer's moral self-destruction that recalls in both theme and visual ambiance noir dramas such as ''[[Body and Soul (1947 film)|Body and Soul]]'' (1947) and ''[[Champion (1949 film)|Champion]]'' (1949).<ref>For AFI ranking, see {{cite web|url=http://www.afi.com/100Years/movies10.aspx|title=AFI's 100 Years&nbsp;... 100 Movies—10th Anniversary Edition|publisher=American Film Institute|year=2007|access-date=2012-04-19|archive-date=2012-06-04|archive-url=https://archive.today/20120604135712/http://www.afi.com/100years/movies10.aspx|url-status=live}} For kinship to classic noir boxing films, see Muller (1998), pp. 26–27.</ref> From 1981, ''[[Body Heat]]'', written and directed by [[Lawrence Kasdan]], invokes a different set of classic noir elements, this time in a humid, erotically charged Florida setting. Its success confirmed the commercial viability of neo-noir at a time when the major Hollywood studios were becoming increasingly risk averse. The mainstreaming of neo-noir is evident in such films as ''[[Black Widow (1987 film)|Black Widow]]'' (1987), ''[[Shattered (1991 film)|Shattered]]'' (1991), and ''[[Final Analysis]]'' (1992).<ref>Silver and Ward (1992), pp. 400–1, 408.</ref> Few neo-noirs have made more money or more wittily updated the tradition of the noir double entendre than ''[[Basic Instinct]]'' (1992), directed by [[Paul Verhoeven]] and written by [[Joe Eszterhas]].<ref>See, e.g., Grothe, Mardy, ''Viva la Repartee: Clever Comebacks and Witty Retorts from History's Great Wits & Wordsmiths'' (2005), p. 84.</ref> The film also demonstrates how neo-noir's polychrome palette can reproduce many of the expressionistic effects of classic black-and-white noir.<ref name=W209 />

Like ''Chinatown'', its more complex predecessor, [[Curtis Hanson]]'s Oscar-winning ''[[L.A. Confidential (film)|L.A. Confidential]]'' (1997), based on the [[James Ellroy]] novel, demonstrates the opposite tendency—the deliberately retro film noir; its tale of corrupt cops and femmes fatale is seemingly lifted straight from a film of 1953, the year in which it is set.<ref>Naremore (2008), p. 275; Wager (2005), p. 83; Hanson (2008), p. 141.</ref> Director [[David Fincher]] followed the immensely successful neo-noir ''[[Seven (1995 film)|Seven]]'' (1995) with a film that developed into a cult favorite after its original, disappointing release: ''[[Fight Club]]'' (1999), a ''[[sui generis]]'' mix of noir aesthetic, perverse comedy, speculative content, and satiric intent.<ref>Wager (2005), p. 101–14.</ref>
{{listen|filename=Dub Driving Sample from Lost Highway CD (Interscope Records).ogg|title="Dub Driving"| description= [[Angelo Badalamenti]] has scored most of [[David Lynch]]'s noir-related work. His work on this track typifies a "modern noir" style, which the director explicitly sought for ''[[Lost Highway (film)|Lost Highway]]'' (1997).<ref>Lynch and Rodley (2005), p. 241.</ref>}}
Working generally with much smaller budgets, brothers [[Joel and Ethan Coen]] have created one of the most extensive oeuvres influenced by classic noir, with films such as ''[[Blood Simple]]'' (1984)<ref>{{cite magazine |url=https://www.newyorker.com/magazine/1985/02/25/plain-and-simple |title=The Current Cinema: PLAIN AND SIMPLE |magazine=[[The New Yorker]] |first=Pauline |last=Kael |authorlink1=Pauline Kael |date=February 17, 1985 |accessdate=March 21, 2024}}</ref> and ''[[Fargo (1996 film)|Fargo]]'' (1996), the latter considered by some a supreme work in the neo-noir mode.<ref>Hirsch (1999), pp. 245–47; Maslin (1996).</ref> The Coens cross noir with other generic traditions in the gangster drama ''[[Miller's Crossing]]'' (1990)—loosely based on the Dashiell Hammett novels ''Red Harvest'' and ''[[The Glass Key]]''—and the comedy ''[[The Big Lebowski]]'' (1998), a tribute to Chandler and an homage to Altman's version of ''The Long Goodbye''.<ref>For ''Miller's Crossing'', see Martin (1997), p. 157; Naremore (2008), p. 214–15; {{cite news|author=Barra, Allen|url=http://dir.salon.com/story/books/feature/2005/02/28/hammett/index.html|title=From 'Red Harvest' to 'Deadwood'|work=Salon|date=2005-02-28|access-date=2009-09-29|url-status=dead|archive-url=https://web.archive.org/web/20100330053905/http://dir.salon.com/story/books/feature/2005/02/28/hammett/index.html|archive-date=2010-03-30}} For ''The Big Lebowski'', see Tyree and Walters (2007), pp. 40, 43–44, 48, 51, 65, 111; Ballinger and Graydon (2007), p. 237.</ref> The characteristic work of [[David Lynch]] combines film noir tropes with scenarios driven by disturbed characters such as the sociopathic criminal played by [[Dennis Hopper]] in ''[[Blue Velvet (film)|Blue Velvet]]'' (1986) and the delusionary protagonist of ''[[Lost Highway (film)|Lost Highway]]'' (1997). The ''Twin Peaks'' cycle, both the [[Twin Peaks|TV series]] (1990–91) and a film, ''[[Twin Peaks: Fire Walk with Me|Fire Walk with Me]]'' (1992), puts a detective plot through a succession of bizarre spasms. [[David Cronenberg]] also mixes surrealism and noir in ''[[Naked Lunch (film)|Naked Lunch]]'' (1991), inspired by [[William S. Burroughs]]' [[Naked Lunch|novel]].

Perhaps no American neo-noirs better reflect the classic noir B movie spirit than those of director-writer [[Quentin Tarantino]].<ref>James (2000), pp. xviii–xix.</ref> Neo-noirs of his such as ''[[Reservoir Dogs]]'' (1992) and ''[[Pulp Fiction]]'' (1994) display a relentlessly self-reflexive, sometimes tongue-in-cheek sensibility, similar to the work of the New Wave directors and the Coens. Other films from the era readily identifiable as neo-noir (some retro, some more au courant) include director [[John Dahl]]'s ''[[Kill Me Again]]'' (1989), ''[[Red Rock West]]'' (1992), and ''[[The Last Seduction]]'' (1993); four adaptations of novels by Jim Thompson—''[[The Kill-Off]]'' (1989), ''[[After Dark, My Sweet]]'' (1990), ''[[The Grifters (film)|The Grifters]]'' (1990), and the remake of ''[[The Getaway (1994 film)|The Getaway]]'' (1994); and many more, including adaptations of the work of other major noir fiction writers: ''[[The Hot Spot]]'' (1990), from ''Hell Hath No Fury'', by [[Charles Williams (U.S. author)|Charles Williams]]; ''[[Miami Blues]]'' (1990), from the novel by [[Charles Willeford]]; and ''[[Out of Sight (1998 film)|Out of Sight]]'' (1998), from the novel by [[Elmore Leonard]].<ref name=rough279/> Several films by director-writer [[David Mamet]] involve noir elements: ''[[House of Games]]'' (1987), ''[[Homicide (1991 film)|Homicide]]'' (1991),<ref name="criterion.com">{{cite web| url = https://www.criterion.com/shop/collection/17-noir-and-neonoir| title = Noir and Neonoir{{!}}The Criterion Collection| access-date = 2020-02-15| archive-date = 2020-02-15| archive-url = https://web.archive.org/web/20200215014638/https://www.criterion.com/shop/collection/17-noir-and-neonoir| url-status = live}}</ref> ''[[The Spanish Prisoner]]'' (1997), and ''[[Heist (2001 film)|Heist]]'' (2001).<ref>See, e.g., Silver and Ward (1992), pp. 398, 402, 407, 412.</ref> On television, ''[[Moonlighting (TV series)|Moonlighting]]'' (1985–89) paid homage to classic noir while demonstrating an unusual appreciation of the sense of humor often found in the original cycle.<ref name=rough279>Ballinger and Graydon (2007), p. 279.</ref> Between 1983 and 1989, [[Mickey Spillane]]'s hardboiled private eye Mike Hammer was played with wry gusto by [[Stacy Keach]] in a [[Mickey Spillane's Mike Hammer (1984 TV series)|series]] and several stand-alone television films (an unsuccessful revival followed in 1997–98). The British miniseries ''[[The Singing Detective]]'' (1986), written by [[Dennis Potter]], tells the story of a mystery writer named Philip Marlow; widely considered one of the finest neo-noirs in any medium, some critics rank it among the greatest television productions of all time.<ref>Creeber, (2007), p. 3. ''The Singing Detective'' is the sole TV production cited in {{cite news|author1=Corliss, Richard |author2=Richard Schickel |url=http://www.time.com/time/2005/100movies/the_complete_list.html |title=All-Time 100 Movies |publisher=[[Time (magazine)|Time]] |date=2005-05-23 |access-date=2009-09-29 |archive-url=https://web.archive.org/web/20100312021319/http://www.time.com/time/2005/100movies/the_complete_list.html |archive-date=2010-03-12 |url-status=dead}}</ref>

===Neon-noir===
Among big-budget auteurs, [[Michael Mann (film director)|Michael Mann]] has worked frequently in a neo-noir mode, with such films as ''[[Thief (film)|Thief]]'' (1981)<ref name="criterion.com"/> and ''[[Heat (1995 film)|Heat]]'' (1995) and the TV series ''[[Miami Vice]]'' (1984–89) and ''[[Crime Story (U.S. TV series)|Crime Story]]'' (1986–88). Mann's output exemplifies a primary strain of neo-noir, or as it is affectionately called, "neon noir",<ref>{{cite web| url = https://mubi.com/lists/neon-noir| title = NEON-NOIR — Movie List on MUBI| access-date = 2020-01-28| archive-date = 2020-01-28| archive-url = https://web.archive.org/web/20200128203252/https://mubi.com/lists/neon-noir| url-status = live}}</ref><ref>{{cite web| url = https://vimeo.com/385716226| title = Neon Noir (series trailer) on Cinefamily Archive's Vimeo channel| access-date = 2020-01-30| archive-date = 2020-07-31| archive-url = https://web.archive.org/web/20200731170638/https://vimeo.com/385716226| url-status = live}}</ref> in which classic themes and tropes are revisited in a contemporary setting with an up-to-date visual style and [[Rock music|rock]]- or [[Hip hop music|hip hop]]-based musical [[soundtrack]].<ref>Ballinger and Graydon (2007), pp. 44, 47, 279–80.</ref>

Neo-noir film borrows from and reflects many of the characteristics of the film noir: the presence of crime and violence, complex characters and plot-lines, mystery, and moral ambivalence, all of which come into play in the neon-noir sub-genre. But more than just exhibiting the superficial traits of the genre, neon-noir emphasizes the socio-critique of film noir, recalling the specific socio-cultural dimensions of the interwar years when noirs first became prominent; a time of global existential crisis, depression and the mass movement of the rural population to cities. Long shots or montages of cityscapes, often portrayed as dark and menacing, are suggestive of what Dueck referred to as a ‘bleak societal perspective’,<ref>Dueck, Cheryl. (November 2016) 'Secret Police in Style: The Aesthetics of Remembering Socialism'.
A Journal of Germanic Studies, Volume 52:4</ref> providing a critique on [[global capitalism]] and [[consumerism]]. Other characteristics include the use of highly stylized lighting techniques such [[chiaroscuro]], and neon signs and brightly lit buildings that provide a sense of [[Social alienation|alienation]] and [[entrapment]].

Accentuating the use of artificial and neon lighting in the films-noir of the '40s and '50s, neon-noir films accentuate this aesthetic with electrifying color and manipulated light in order to highlight their socio-cultural critiques and their references to contemporary and pop culture. In doing so, neon-noir films present the themes of urban decay, consumerist decadence and capitalism, [[existentialism]], sexuality, and issues of [[race and violence]] in the contemporary culture, not only in America, but the globalized world at large.

Neon-noirs seek to bring the contemporary noir, somewhat diluted under the umbrella of neo-noir, back to the exploration of culture: class, race, gender, patriarchy, and capitalism. Neon-noirs present an existential exploration of society in a hyper-technological and globalized world. Illustrating society as decadent and [[consumerist]], and identity as confused and anxious, neon-noirs reposition the contemporary noir in the setting of [[urban decay]], often featuring scenes set in underground city haunts: brothels, nightclubs, casinos, strip bars, pawnshops, laundromats.

Neon-noirs were popularized in the '70s and '80s by films such as ''[[Taxi Driver]]'' (1976), ''[[Blade Runner]]'' (1982),<ref>{{cite web| url = https://scene360.com/light/78553/neon-light-movies/| title = 10 Visually Stunning Movies with Neon Lighting{{!}}Scene360| access-date = 2020-01-30| archive-date = 2020-07-31| archive-url = https://web.archive.org/web/20200731165210/https://scene360.com/light/78553/neon-light-movies/ | url-status = live}}</ref> and films from [[David Lynch]], such as ''[[Blue Velvet (film)|Blue Velvet]]'' (1986) and later, ''[[Lost Highway (film)|Lost Highway]]'' (1997). Other titles from this era included [[Brian De Palma]]'s ''[[Blow Out]]'' (1981) and the [[Coen Brothers]]' debut ''[[Blood Simple]]'' (1984).<ref>{{cite web| url = https://www.criterionchannel.com/neonoir| title = Neonoir – The Criterion Channel| access-date = 2021-07-02| archive-date = 2021-07-01| archive-url = https://web.archive.org/web/20210701153906/https://www.criterionchannel.com/neonoir| url-status = dead}}</ref><ref>{{cite web | url = https://www.youtube.com/watch?v=qpljUgXMoFs| title = Neonoir – Criterion Channel teaser – criterioncollection on YouTube| website = [[YouTube]]| date = July 2021| access-date = 2021-07-02| archive-date = 2021-07-02| archive-url = https://web.archive.org/web/20210702021755/https://www.youtube.com/watch?v=qpljUgXMoFs| url-status = live}}</ref> More currently, films such as [[Harmony Korine]]’s highly provocative ''[[Spring Breakers]]'' (2012),<ref>{{cite web| url = https://www.thatmomentin.com/5-neon-noir-movies-watch-blade-runner-2049/| title = 5 Neon-Noir Movies to Watch After Blade Runner 2049{{!}}That Moment In| date = 3 November 2017| access-date = 2020-01-30| archive-date = 2020-07-31| archive-url = https://web.archive.org/web/20200731155852/https://www.thatmomentin.com/5-neon-noir-movies-watch-blade-runner-2049/| url-status = live}}</ref> and [[Danny Boyle]]’s ''[[Trance (2013 film)|Trance]]'' (2013) have been especially noted for their neon-infused rendering of film noir; while ''Trance'' was celebrated for ‘shak(ing) the ingredients (of the noir) like colored sand in a jar’, ''Spring Breakers'' notoriously produced a slew of criticism<ref>{{Cite web |url-status=live|url=https://www.huffingtonpost.com/2013/03/22/spring-breakers-fever-dream_n_2929231.html |last=Rosen|first= Christopher|title= 'Spring Breakers' Is A 'Fever Dream'; Or, The Most Common Description Of Harmony Korine's New Film |website=[[HuffPost]] |date=22 March 2013 |access-date = |archive-date=2016-04-09 |archive-url=https://web.archive.org/web/20160409155134/http://www.huffingtonpost.com/2013/03/22/spring-breakers-fever-dream_n_2929231.html  }}</ref> referring to its ‘fever-dream’ aesthetic and ‘neon-caked explosion of excess’ (Kohn).<ref>Kohn, Eric.'From 'Trance' to 'Spring Breakers,' Is This the Golden Age of Film Noir?'. March 23, 2016. [https://www.indiewire.com/2013/03/from-trance-to-spring-breakers-is-this-the-golden-age-of-film-noir-39990/ Indiewire Online] {{Webarchive|url=https://web.archive.org/web/20220610070446/https://www.indiewire.com/2013/03/from-trance-to-spring-breakers-is-this-the-golden-age-of-film-noir-39990/ |date=2022-06-10 }}</ref>

Neon-noir can be seen as a response to the over-use of the term neo-noir. While the term neo-noir functions to bring noir into the contemporary landscape, it has often been criticized for its dilution of the noir genre. Author Robert Arnett commented on its "amorphous" reach: "any film featuring a detective or crime qualifies".<ref>Arnett, Robert (October 2006) Eighties Noir: The Dissenting Voice in Reagan's America'. [[Journal of Popular Film and Television]] : 123</ref> The neon-noir, more specifically, seeks to revive noir sensibilities in a more targeted manner of reference, focalizing socio-cultural commentary and a hyper-stylized aesthetic.

===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).

===2020s===
The [[Science Channel]] broadcast the 2021 science documentary series ''[[Killers of the Cosmos]]'' in a format it describes as "space noir." In the series, actor [[Aidan Gillen]] in animated form serves as the host of the series while portraying a [[private investigator]] who takes on "cases" in which he "hunts down" lethal threats to humanity posed by the [[cosmos]]. The animated sequences combine the characteristics of film noir with those of a pulp fiction graphic novel set in the mid-20th century, and they link conventional live-action documentary segments in which experts describe the potentially deadly phenomena.<ref>{{Cite web|last=Kanter|first=Jake|date=2020-11-20|title='Game Of Thrones' Star Aidan Gillen To Front Genre-Bending Discovery Cosmology Series 'Killers Of The Cosmos'|url=https://deadline.com/2020/11/aidan-gillen-science-channel-series-killers-of-the-cosmos-wall-to-wall-1234618542/|access-date=2021-10-31|website=Deadline|language=en-US|archive-date=2021-10-31|archive-url=https://web.archive.org/web/20211031013634/https://deadline.com/2020/11/aidan-gillen-science-channel-series-killers-of-the-cosmos-wall-to-wall-1234618542/|url-status=live}}</ref><ref>{{Cite web|title=Killer of the Cosmos : Programs : Science Channel : Discovery Press Web|url=https://press.discovery.com/us/sci/programs/killer-cosmos/|access-date=2021-10-31|website=press.discovery.com|archive-date=2021-10-30|archive-url=https://web.archive.org/web/20211030221032/https://press.discovery.com/us/sci/programs/killer-cosmos/|url-status=live}}</ref><ref>{{Cite web|title=When Outer Space Meets Film Noir|url=https://www.discovery.com/dnews/when-outer-space-meets-film-noir|access-date=2021-10-31|website=Discovery|language=en|archive-date=2021-10-30|archive-url=https://web.archive.org/web/20211030221032/https://www.discovery.com/dnews/when-outer-space-meets-film-noir|url-status=live}}</ref><ref>{{Citation|title=Killers of the Cosmos &#124; TVmaze|date=24 October 2021 |url=https://www.tvmaze.com/shows/57201/killers-of-the-cosmos|language=en|access-date=2021-10-31|archive-date=2021-10-30|archive-url=https://web.archive.org/web/20211030221032/https://www.tvmaze.com/shows/57201/killers-of-the-cosmos|url-status=live}}</ref>

===Science fiction noir===
{{See also|Tech noir}}
[[File:BladeRunnerSS.jpg|thumb|alt=A man with close-cropped hair wearing a brown jacket sits at a counter, holding a pair of chopsticks poised over a rice bowl. Rain cascades down beside him as if from the edge of an awning. In the foreground is a teapot, several bottles, and other dining accessories. Steam or smoke rises from an unseen source. In the background, two standing men look down at the central figure. The goateed man on the left wears a dark snap-brim hat, a black coat with upturned collar, and a gold-trimmed vest. The man on the right, partly obscured by the steam, is wearing a constabulary-style uniform, featuring large wrap-around shades and a hat or helmet with a glossy, stiff brim. There is a bluish cast to the entire image.|[[Harrison Ford]] as detective Rick Deckard in ''[[Blade Runner]]'' (1982). Like many classic noirs, the film is set in a version of Los Angeles where it constantly rains.<ref>Hunter (1982), p. 197.</ref> The steam in the foreground is a familiar noir trope, while the "bluish-smoky exterior" updates the black-and-white mode.<ref>Kennedy (1982), p. 65.</ref>]]

In the post-classic era, a significant trend in noir crossovers has involved [[science fiction]]. In Jean-Luc Godard's ''[[Alphaville (film)|Alphaville]]'' (1965), Lemmy Caution is the name of the old-school private eye in the city of tomorrow. ''[[The Groundstar Conspiracy]]'' (1972) centers on another implacable investigator and an amnesiac named Welles. ''[[Soylent Green]]'' (1973), the first major American example, portrays a dystopian, near-future world via a noir detection plot; starring [[Charlton Heston]] (the lead in ''Touch of Evil''), it also features classic noir standbys Joseph Cotten, Edward G. Robinson, and [[Whit Bissell]]. The film was directed by [[Richard Fleischer]], who two decades before had directed several strong B noirs, including ''[[Armored Car Robbery]]'' (1950) and ''[[The Narrow Margin]]'' (1952).<ref>Downs (2002), pp. 171, 173.</ref>

The cynical and stylized perspective of classic film noir had a formative effect on the [[cyberpunk]] genre of science fiction that emerged in the early 1980s; the film most directly influential on cyberpunk was ''[[Blade Runner]]'' (1982), directed by [[Ridley Scott]], which pays evocative homage to the classic noir mode<ref>Ballinger and Graydon (2007), p. 242.</ref> (Scott subsequently directed the poignant 1987 noir crime melodrama ''[[Someone to Watch Over Me (film)|Someone to Watch Over Me]]''). Scholar Jamaluddin Bin Aziz has observed how "the shadow of [[Philip Marlowe]] lingers on" in such other "future noir" films as ''[[12 Monkeys]]'' (1995), ''[[Dark City (1998 film)|Dark City]]'' (1998) and ''[[Minority Report (film)|Minority Report]]'' (2002).<ref>Aziz (2005), section "Future Noir and Postmodernism: The Irony Begins". Ballinger and Graydon note "future noir" synonyms: "'cyber noir' but predominantly 'tech noir'" (p. 242).</ref> Fincher's feature debut was ''[[Alien 3]]'' (1992), which evoked the classic noir jail film ''[[Brute Force (1947 film)|Brute Force]]''.

David Cronenberg's ''[[Crash (1996 film)|Crash]]'' (1996), an adaptation of [[Crash (1973 novel)|the speculative novel]] by [[J. G. Ballard]], has been described as a "film noir in bruise tones".<ref>{{cite news|author=Dougherty, Robin |url=http://www.salon.com/march97/crash970321.html|title=Sleek Chrome + Bruised Thighs|work=Salon|date=1997-03-21|access-date=2009-09-29|archive-url=https://web.archive.org/web/20110123090727/http://www.salon.com/march97/crash970321.html|archive-date=2011-01-23}}</ref> The hero is the target of investigation in ''[[Gattaca]]'' (1997), which fuses film noir motifs with a scenario indebted to ''[[Brave New World]]''. ''[[The Thirteenth Floor]]'' (1999), like ''Blade Runner'', is an explicit homage to classic noir, in this case involving speculations about [[virtual reality]]. Science fiction, noir, and [[anime]] are brought together in the Japanese films of 90s ''[[Ghost in the Shell (1995 film)|Ghost in the Shell]]'' (1995) and ''[[Ghost in the Shell 2: Innocence]]'' (2004), both directed by [[Mamoru Oshii]].<ref name=bg234/> ''[[The Animatrix]]'' (2003), based on and set within the world of ''[[The Matrix (franchise)|The Matrix]]'' film trilogy, contains an anime short film in classic noir style titled "A Detective Story".<ref>{{cite news|url=https://www.nytimes.com/movies/movie/282083/The-Animatrix-A-Detective-Story/overview|archive-url=https://web.archive.org/web/20141129215154/http://www.nytimes.com/movies/movie/282083/The-Animatrix-A-Detective-Story/overview|url-status=dead|archive-date=2014-11-29|department=Movies & TV Dept.|work=[[The New York Times]]|author=Cammila Collar|date=2014|title=The Animatrix: A Detective Story (2003)|access-date=2014-03-26}}</ref> Anime television series with science fiction noir themes include ''[[Noir (anime)|Noir]]'' (2001)<ref name=bg234>Dargis (2004); Ballinger and Graydon (2007), p. 234.</ref> and ''[[Cowboy Bebop]]'' (1998).<ref>{{cite magazine|author=Jeffries, L. B. |url=https://www.popmatters.com/pm/feature/115481-the-film-noir-roots-of-cowboy-bebop|title=The Film Noir Roots of Cowboy Bebop|magazine=PopMatters|date=2010-01-19|access-date=2012-01-25}}</ref>

The 2015 film ''[[Ex Machina (film)|Ex Machina]]'' puts an understated film noir spin on the [[Frankenstein]] mythos, with the sentient [[android (robot)|android]] Ava as a potential ''femme fatale'', her creator Nathan embodying the abusive husband or father trope, and her would-be rescuer Caleb as a "clueless drifter" enthralled by Ava.<ref>{{cite web|author=Matt Zoller Seitz|url=https://www.rogerebert.com/reviews/ex-machina-2015|title=Ex Machina|publisher=rogerebert.com|date=2015-04-09|access-date=2015-06-03|archive-date=2015-04-12|archive-url=https://web.archive.org/web/20150412001200/https://www.rogerebert.com/reviews/ex-machina-2015|url-status=live}}</ref>

{{Clear}}
===Rural/outback noir===
{{also|Rural noir (fiction)}}
<!---a couple of paragraphs to allow for redirects to target this - possibly an article later--->
A sub-genre of noir fiction has been named "rural noir" in the US;<ref name=rise2019>{{cite web |title=The Rise of Rural Noir: Southern Crime Fiction |website=The Bitter Southerner |date=21 July 2019 |url=https://bittersoutherner.com/the-rise-of-rural-noir-southern-crime-fiction |access-date=27 October 2024}}</ref><ref name=bouman2015>{{cite web |last=Bouman |first=Tom |author-link= Tom Bouman| title=Top 10 rural noir novels |website=The Guardian |date=20 May 2015 |url=https://www.theguardian.com/books/2015/may/20/top-10-rural-noir-novels-american-fiction |access-date=27 October 2024}}</ref> and sometimes "outback noir" in Australia.<ref name=heath2023>{{cite web |last=Heath |first=Nicola |title=What is outback noir and why is so much crime fiction set in regional Australia |website=[[ABC News (Australia)|ABC News]] |date=25 December 2023 |url=https://www.abc.net.au/news/2023-12-26/outback-noir-australian-crime-fiction-scrublands-the-dry/103229200 |access-date=27 October 2024}}</ref><ref name=burge2024>{{cite web |last=Burge |first=Michael |title=Australian rural crime fiction is booming – it's time it represented the true diversity of the bush |website=The Guardian |date=8 June 2024 |url=https://www.theguardian.com/australia-news/article/2024/jun/09/australian-rural-fiction-is-booming-its-time-it-represented-the-true-diversity-of-the-bush |access-date=27 October 2024}}</ref> Many rural noir novels have been adapted for film and TV series in both countries, such as ''[[Ozark (TV series)|Ozark]]'', ''[[No Country for Old Men]]'',<ref name=rise2019/> and ''[[Big Sky (American TV series)|Big Sky]]'' in the US,<ref>{{cite web |last=Roysdon |first=Keith |title=Spotlighting Rural Crime Fiction |website=The Daily Yonder |date=10 August 2023 |url=https://dailyyonder.com/spotlighting-rural-crime-fiction-small-town-sins-the-hunt-longmire-joe-pickett-quinn-colson/2023/08/10/ |access-date=27 October 2024}}</ref> and ''[[Troppo (TV series)|Troppo]]'', ''[[The Dry (film)|The Dry]]'' (and its sequel ''[[Force of Nature: The Dry 2]]''), ''[[Scrublands (TV series)|Scrublands]]'',<ref name=heath2023/> and ''[[High Country (TV series)|High Country]]'' (2024) in Australia.<ref>{{cite web |first=Stephen|last= Gaunson |title=High Country delivers a fresh take on Australian rural noir |website=[[InReview]] |date=20 March 2024 |url=https://inreview.com.au/inreview/film/2024/03/20/high-country-delivers-a-fresh-take-on-australian-rural-noir/ |access-date=27 October 2024}}</ref>

In Australia, outback noir increasingly includes issues relating to [[Indigenous Australians]],<ref name=heath2023/> such as the dispossession of land from [[Aboriginal Australians|Aboriginal peoples]]<ref >{{cite web |last=King |first=Stewart |title=Indigenous crime fiction is rare, but in Madukka the River Serpent systemic violence and connection to Country are explored |website=[[The Conversation (website)|The Conversation]] |date=6 February 2024 |url=https://theconversation.com/indigenous-crime-fiction-is-rare-but-in-madukka-the-river-serpent-systemic-violence-and-connection-to-country-are-explored-201860 |access-date=27 October 2024}}</ref> and [[Racism in Australia|racism]]. Filmmaker [[Ivan Sen]] is known for his exploration of such themes in his ''[[Mystery Road (TV series)|Mystery Road]]'' TV series and [[Mystery Road (film)|film of the same name]] with its prequel ''[[Goldstone (film)|Goldstone]]'',<ref>{{cite web |last=Das |first=Parvathy |title=Land in Outback Noir Films: Trope of Spatial Alienation of Aboriginal People in Ivan Sen's Mystery Road (2013) and Goldstone (2016) |website=Offscreen |date=2 July 2021 |url=https://offscreen.com/view/land-in-outback-noir-films-trope-of-spatial-alienation-of-aboriginal-people-in-ivan-sens-mystery-road-2013-and-goldstone-2016 |access-date=27 October 2024}}</ref> and his more recent award-winning film ''[[Limbo (2023 film)|Limbo]]'' (2023).<ref>{{cite web |last=Comini |first=Rebecca |title=Outback noir lays out the racism faced by Indigenous Australians |website=CathNews |date=1 June 2023 |url=https://cathnews.com/2023/06/02/outback-noir-lays-out-the-racism-faced-by-indigenous-australians/ |access-date=27 October 2024}}</ref><ref>{{cite web |last=Clarke |first=Rhiannon |title=Renowned Indigenous filmmaker Ivan Sen returns to screens with critically acclaimed outback noir film 'Limbo' |website=[[National Indigenous Times]] |date=13 April 2023 |url=https://nit.com.au/13-04-2023/5589/renowned-indigenous-filmmaker-ivan-sen-returns-to-screens-with-critically-acclaimed-outback-noir-film-limbo |access-date=27 October 2024}}</ref>