Audra and Raymond are back from an unintentional sabbatical to discuss Neo Noir films from the 1990s. Not to be confused with “Erotic Thrillers,” Neo Noirs echo the first wave of Film Noir in both content and style. Certain American crime thrillers of the ‘40s and ‘50s were dubbed Film Noir by French critics for their similarities: dark subject matter (usually crime mixed with fateful romance), anti-heroes with confused morals, and stylistic use of shadows and low-key lighting. These were often B-movies and almost certainly featured a Femme Fatale to lure the hero down a dark moral alley. Her appeal and danger stemmed from her empowerment.

Neo Noir films are intentionally made in this model, dating 1960s to nowsville. In the period of 1989 to early 2001, Neo Noirs surged, paying homage to the classics yet everything was more extreme: explicit sex and violence, and new moral dilemmas with a heightened focus on urban decay and consumerism. Join us as we discuss Michael Man’s HEAT (1995), the Wachowskis’ BOUND (1996), and Curtis Hanson’s L.A. CONFIDENTIAL (1997).

Note: we recorded this a couple of months ago. Since then, Audra’s wrist has healed and she’s had time to fall down the James Ellroy rabbit hole.