A detective strolls down a foggy alley. A killer lurks in the shadows. A mysterious woman smokes a cigarette in the corner of a bar. These are the images we associate with the genre known as film noir. Most of these crime stories were brought to the big screen in the U.S. in the 1940s. However, the rest of the world took note, and it wasn’t long before other countries borrowed the formula and made it their own.
The following are just a handful of the classic noirs and neo-noirs worldwide. Whether featuring a killer trapped in an elevator or an actress losing her grip on reality, these crime capers will keep you on the edge of your seat.
‘Le Samourai’ (France, 1967)
Jef Costello is a meticulous hit man, going through the motions when executing a hit on a nightclub owner until he is spotted by a witness leaving the crime scene. For the next 24 hours, Jef races against time as he is relentlessly pursued by the police and the criminals who hired him, who now see him as a liability.
Very few actors have looked cooler on-screen than Alain Delon as Jef in Le Samourai. Along with director Jean Pierre Melville, Delon created an icon of the stoic killer archetype, doing much of his acting with subtle expressions and gestures. Aided by a moody score and rich cinematography, Le Samourai seamlessly blends suspense and melancholy and is an unforgettable portrait of a man realizing that he can only run for so long.
‘Oldboy’ (South Korea, 2003)
After being kidnapped by an unknown assailant and imprisoned in a hotel room for 15 years, Oh Dae-Su (Choi Min-sik) finally wakes up free, alone on a rooftop. He’s left with a cell phone, from which a mysterious caller tells him he has five days to uncover his identity.
Oldboy is easily one of the most successful noirs of the 21st century, and it’s easy to see why. Oh Dae-Su’s desperate search for answers and his struggle to readjust to the outside world are compellingly woven together. From the now-iconic hallway hammer fight to the gut-wrenching final revelation, Oldboy is a cult masterpiece that won’t be forgotten any time soon.
‘Odd Man Out’ (United Kingdom, 1947)
After a robbery in Northern Ireland goes awry, revolutionary Johnny McQueen (James Mason) is wounded by the police and falls from his getaway car. He spends the night wandering the streets, evading police and hoping to reunite with the woman he loves.
After the nerve-wracking opening robbery, Odd Man Out slowly evolves from a gritty crime drama to a meditative character piece. As his wound worsens and the cops close around him, Johnny becomes increasingly disoriented. The paranoia of a man on the run is a theme often explored in film noir, and there are few better examples than this British classic.
‘Tokyo Drifter’ (Japan, 1966)
When his crime boss ends their operation and goes straight, right-hand man Tetsuya (Tetsuya Watari) is offered a job for a rival gang, but he refuses. The rival gang boss becomes infuriated and sends assassins after Tetsuya, kicking off a wave of violence that sends Tetsu on the lam.
Tokyo Drifter is a stylish and colorful neo-noir that feels well ahead of its time. The vibrant yellows, reds, and greens applied to the pop art-inspired sets form a comic book-style aesthetic unlike any of its contemporaries. The punchy editing breezes from one dynamic shootout to the next, and if all of that wasn’t enough, the film’s jazzy theme song is sure to end up on your latest playlist.
‘Elevator To The Gallows’ (France, 1958)
Two lovers, Florence (Jeanne Moreau) and Julien (Maurice Ronet), plot to kill Florence’s husband, who is Julien’s boss. The plan backfires, leaving Julien trapped in the office elevator, and Florence left thinking he abandoned her. Meanwhile, Julien’s car is stolen by a young couple, who run into their own troubles.
An early film in the “French New Wave,” Elevator To The Gallows brought a fresh artistic perspective to the noir genre. Instead of the typical fuse-burning tension, much of the story unfolds with characters pondering over the consequences of prior actions or briefly relaxing with a drink, unsure where the next impulsive decision will take them. This tone is further emphasized with lingering cinematography and a wistful original score by the one and only Miles Davis.
‘The Third Man’ (United Kingdom, 1949)
Holly Martins (Joseph Cotten), a pulp Western writer, travels to Vienna to visit his old friend, Harry Lime (Orson Welles). Upon his arrival, he learns of Harry’s untimely death due to a traffic accident. After speaking with the locals, Holly begins to believe things are not as simple as they appear.
The Third Man is often mentioned alongside American classics like The Maltese Falcon and Double Indemnity as one of the greatest film noirs of all time. Cotten and Alida Valli are phenomenal as two lost souls, while Welles makes a smaller but equally impactful appearance late in the film. As the story unravels, it becomes less about the mystery and more about whether it would’ve been better to never try solving it at all
‘Long Day’s Journey Into Night’ (China, 2018)
After years spent away, Luo Hongwu (Huang Jue) returns to his hometown, Kaili, for his father’s funeral. While there, he is reminded of a woman from his past, and while their prior relationship is unclear, he is compelled to find her.
Long Day’s Journey Into Night’sstory is fragmented, subtly shifting between past and present. Because of this, the plot can sometimes be challenging to follow, but that’s likely intentional for the audience to see things through Luo’s muddled perspective. The final hour is a single unbroken take following Luo as he takes a transcendent stroll through his dreams and memories. The film is undoubtedly challenging, but it’s also a beautifully somber exploration of the passing of time and its impact on our lives.
‘Perfect Blue’ (Japan, 1997)
After successful pop star Mima (Junko Iwao)decides to quit singing to pursue a career in acting, she quickly learns it will be a difficult task without attempting to shed her “good girl” image. As the tensions and loneliness of the industry begin to tear away at her psyche, she also finds evidence of a potential stalker.
Perfect Blue is a dark examination of the physical and psychological dangers of fame. As Mima’s mind slowly unravels from fear and pressure, it becomes less and less clear what is real and what is fake. Entire scenes play out only to reveal that they may or may not be part of a production Mima starred in. This animated masterpiece remains mysterious and haunting years later and will leave you dwelling on it long after it’s over.
‘Diva’ (France, 1981)
When mail carrier Jules (Frédéric Andréi) becomes enchanted by an American diva (Wilhelmenia Fernandez), he secretly records her voice despite her wishes never to record her music. One day, his tape of her is switched for a tape with incriminating evidence of a corrupt police officer, and he is pursued by the officer’s partners in the mob.
Part of France’s “cinema du look” movement of the ’80s and ’90s, Divaborrows noir elements and imbues them with striking color and a slightly abstract atmosphere. The moodiness of the genre is seamlessly blended with fun midnight-movie energy. This is on full display with a show-stopping bike chase at the center of the film, sure to impress anyone looking for a visually stunning and exciting neo-noir.
‘Stray Dog’ (Japan, 1949)
When young detective Murakami (Toshiro Mifune) loses his gun on the sweltering streets of Tokyo, he immediately begins a search through the slums to find it. It eventually turns up as evidence in a crime spree, and a more experienced detective is forced to step in and help Murakami.
Legendary director Akira Kurosawa was at the forefront of Japanese film noir, and this early take on the buddy-cop movie is one of his best examples. Kurosawa regulars Mifune and Takashi Shimura are reliably magnetic; Mifune’s tense energy perfectly contrasts Shimura’s calm demeanor. Murakami’s building pressure as the case progresses is communicated brilliantly, with a palpable heat and claustrophobia in every frame. It climaxes in a thrilling chase that is quite possibly one of Kurosawa’s most memorable finales.