Noir has always been a genre I return to—its moody visuals, moral ambiguity, and emotional complexity never lose their pull. Earlier, I examined the re-emergence of neo-noir in the 1990s, uncovering a surprising number of criminally overlooked gems and curating a list of the decade’s most underrated films. The experience was both insightful and offered genuine creative satisfaction, inspiring me to explore noir even further, decade by decade. And since it’s #Noirvember, now feels like the perfect time to highlight the best neo-noir films of the 2020s. The selections here embody many of neo-noir’s signature traits: flawed protagonists, femme fatales, bleak and cynical settings, crime-driven plots, expressive chiaroscuro lighting, unhappy or bittersweet endings, raw violence, etc. With that, let’s step into the darkness and take a look at some of the best neo-noir films of the 2020s so far.
14. Eileen (2023) – William Oldroyd
Eileen, directed by William Oldroyd, is a wickedly twisted neo-noir thriller that benefits from its assured direction, terrific lead performances, and in-depth analysis of the eponymous character. It is an ideal film to begin the list of the best neo-noir films of the 2020s. Adapted from Ottessa Moshfegh’s 2015 novel of the same name, the film unfolds in 1960s Boston. It follows 24-year-old Eileen (Thomasin McKenzie), who works at a juvenile correctional facility and lives with her alcoholic and widowed father, Jim (Shea Wingham), a retired chief of police suffering from paranoia. Her mundane existence is disrupted by the arrival of charismatic Rebecca (Anne Hathaway), the new psychologist who takes a keen interest in the case of Lee Polk (Sam Nivola), a teenage inmate who murdered his father in his sleep. As Eileen and Rebecca grow closer, a Christmas dinner invitation leads to turmoil, and their relationship takes an unexpected turn, driven by Rebecca’s fascination with Lee Polk’s case.
The film’s greatest strengths lie in the meticulous construction of Eileen’s character and the immersive depiction of her lonely, isolated world. Director William Oldroyd and cinematographer Ari Wegner brilliantly capture her emotional state through visuals, isolating her in nearly every frame. Her life has become so isolated that she has no one to talk to or trust; she’s mocked by her coworkers at the facility and burdened by the responsibility of looking after her alcoholic, emotionally abusive father, whose mind is rapidly deteriorating. Yet, despite the bleakness surrounding Eileen, the screenplay skillfully avoids making us feel sorry for her or her predicament. Instead, it hints at something darker beneath her quiet, hollow exterior, as evidenced by showing us quick glimpses of her fantasizing about killing herself and her father. This gradual buildup of darkness in Eileen’s personality enables her swift character transformation in the third act.
Conversely, the screenplay intentionally shrouds Rebecca in mystery, a choice that benefits the film by infusing her presence with unpredictability and keeping viewers unsure of her next move. The third act is where things truly escalate, taking a darker turn and unveiling a genuinely surprising twist that comes out of nowhere. While the ending feels vague and not entirely fulfilling, the film remains consistently engaging throughout. Thomasin McKenzie delivers her finest work yet, capturing a remarkable spectrum of emotions and navigating her character’s arc with impressive control. Her chemistry with Anne Hathaway is the film’s highlight, and her scenes with Shea Whigham are among the film’s finest.
13. Only the River Flows (2023) – Wei Shujun
Wei Shujun’s Only the River Flows unfolds as a haunting, slow-paced Chinese noir—moody, enigmatic, and hypnotic. It’s a film that both frustrates and fascinates in equal measure, but the experience is undeniably worthwhile. The film follows officer Ma Zhe (Zhu Yilong) as he leads an inquiry into a string of unsettling murders in a small riverside village in 1990s China. Despite working closely with his team, the case advances slowly, hindered by conflicting clues and suspects. As Ma Zhe grows increasingly consumed by the investigation, his wife begins to notice the toll it takes on him, straining their family life. His obsession draws him deeper into a maze of secrets, gradually eroding his sense of reality and leaving him unsure whom he can trust.
The story opens like any classic small-town noir: a death (an older woman in this case), a trail of clues, and a growing list of suspects. However, as the film unfolds, the seemingly simple murder case becomes more complicated, shifting the story into psychological thriller territory. Seen through Ma Zhe’s eyes, the investigation becomes an obsession that consumes him, sending him spiraling into confusion as the world around him loses clarity and reality slips from his grasp. Several hallucination sequences, especially in the final act, are executed brilliantly, blurring the line between reality and illusion—most notably the elaborate scene in which Ma Zhe supposedly kills the killer and the final scene, which may or may not reflect reality. The film’s ending is deliberately ambiguous, leaving numerous unanswered questions and unresolved threads—an approach that may divide viewers and even prove frustrating for some.
Shot on 16mm, the film leans heavily into noir-style imagery, with the makers striving for a grounded, authentic look. The visuals are gritty and richly textured, drenched in rain and shadow as they weave together dreamlike visions, bureaucratic pressure, Ma’s mounting anxiety over his wife’s complicated pregnancy, and the hidden tensions of a community steeped in secrets. The performances—especially Zhu Yilong’s portrayal of Ma—balance calm restraint with underlying tension, capturing a man slowly losing control of both the murder case and his sense of reality.
12. Last Night in Soho (2021) – Edgar Wright
Edgar Wright stands out as one of contemporary cinema’s most distinctive directors in terms of style. His films often feature straightforward story lines, yet he elevates them through stunning visuals, rhythmic editing, and innovative execution—whether in the Cornetto Trilogy (2004-2013), Baby Driver (2017), or his 2021 film, Last Night in Soho. The film centers on Eloise “Ellie” Turner (Thomasin McKenzie), a naive young woman from a small town who moves to London to study fashion, captivated by the glamour of the Swinging Sixties. As she adapts to her new environment, she begins experiencing vivid nightly visions that transport her to 1960s London, where she witnesses the life of Sandie (Anya Taylor-Joy), a confident young singer mentored by the charismatic Jack (Matt Smith), who vows to launch her career and make her a star. But Ellie soon realizes that Sandie’s glittering world hides something far darker and more sinister. As the visions grow stronger and more disturbing, Ellie finds herself unable to separate past from present, pulling her into an increasingly unsettling mystery about Sandie’s fate.
The film’s first act introduces Ellie’s character as a gentle, emotionally fragile girl dealing with grief and burdened by visions others cannot see (including those of her deceased mother). The second act captures her difficulty settling into life in London and introduces the vivid dreams that pull her into the vibrant world of 1960s London, where she follows Sandie, a promising singer chasing stardom. Inspired by Sandie, Ellie begins to embrace the era’s glamour, even designing a dress based on her visions and adopting Sandie’s hairstyle. But as the third act approaches, those dreams turn into nightmares, leading her to uncover dark truths about Sandie’s world, touching on themes of female exploitation, the deceptive allure of fame, and the steep cost of ambition.
The film is visually mesmerizing, shot by Chung Chung-hoon (a regular collaborator of Park Chan-wook), with neon-drenched palettes, shadowed alleys, and mirror reflections that evoke a modernized chiaroscuro aesthetic. Several sequences stand out as truly breathtaking—from the flawlessly edited dance between Jack and Sandie to the gripping library scene in which the ghostly figures chase Ellie from her visions. Although the final reveal felt somewhat disappointing to me—adding a revenge angle that reduces an otherwise nuanced character into a shock twist—I still found Ellie’s journey compelling enough to keep me deeply invested. Last Night in Soho clearly draws inspiration from some of Edgar Wright’s favorite horror classics, including Polanski’s Apartment Trilogy, Nicolas Roeg’s Don’t Look Now (1973), and more. If you appreciate those films, this one is well worth checking out.
11. The Last Stop in Yuma County (2023) – Francis Galluppi
The Last Stop in Yuma County, Francis Galluppi’s directorial debut, is a gritty, low-budget crime thriller set in a confined location, offering sharp tension, brisk pacing, and plenty to please genre fans. The film begins with an anonymous salesman (Jim Cummings) stopping at a remote Arizona gas station, where the owner, Vernon (Faizon Love), informs him that the gas pumps are empty, forcing him to wait before heading into the adjacent cafe run by Charlotte (Jocelin Donahue). After a brief moment of bonding, their conversation is interrupted by the arrival of Travis (Nicholas Logan) and Beau (Richard Brake)—the bank robbers the salesman heard about earlier on the radio—and they quickly threaten them into staying quiet until they can gas up and escape. As the film progresses, additional customers—including an elderly couple (Gene Jones and Robin Bartlett) and two petty crooks, Miles (Ryan Masson) and Sybil (Sierra McCormick)—soon crowd in, seeking gas. As Travis and Beau grow increasingly volatile, the situation edges toward inevitable catastrophe.
The film’s first act introduces the characters and the predicament they find themselves in, the second act builds steadily toward the central conflict, and the third act explores the fallout (from the second act’s conclusion). With a tightly crafted screenplay, the makers keep the tension mounting scene after scene, keeping the audience in a constant state of anticipation. The film makes excellent use of its confined desert setting, trapping the characters in a single isolated location that restricts their movement and amplifies the tension. Much like 1990s neo-noirs such as The Hot Spot (1990) and Red Rock West (1992), it portrays a cynical world full of shady figures against a scorching, unforgiving landscape. With the gas station’s pumps dry and the nearest fuel station 100 miles away, everyone crowds into one spot and waits helplessly for the fuel truck to arrive.
By setting the film in the 1970s (as evidenced by the cars and rotary phones), it removes cell phones and other modern technology from the equation, making communication much more difficult for the characters. The third act lands effectively, with the story progressing organically and never straying off course, which is a relief given the number of ways it could have gone wrong. This is primarily because the audience follows a particular character throughout the final act, and that person’s actions feel justified by solid character development. Additionally, the character serves as a means for the film’s exploration of themes such as greed, demonstrating how even an innocent, law-abiding individual can succumb to it and do things he never expected.
10. Beasts Clawing at Straws (2020) – Kim Yong-hoon
Beasts Clawing at Straws, Kim Yong-Hoon’s debut film, is a well-crafted neo-noir thriller marked by dark humor, intricate plotting, and compelling twists, providing a satisfying cinematic experience despite some minor flaws. The film follows a group of characters whose lives intersect when a mysterious bag of cash falls into the wrong hands. Joong-man (Bae Seong-woo), a struggling sauna worker, discovers a large bag filled with money and sees it as an opportunity to solve his financial problems. At the same time, Tae-young (Jung Woo-sung), a debt-ridden customs officer, and Mi-ran (Shin Hyun-been), an escort trapped in an abusive marriage, are drawn into the hunt for the money due to their own dire circumstances. As each person seeks the bag for survival or escape, their paths cross in increasingly perilous and unpredictable ways.
The film feels like a hybrid of Coen Brothers–style dark humor and Tarantino’s trademark narrative structure and stylized violence, unfolding across six chapters and three parallel storylines that eventually converge. What really strengthens the film is that all three storylines—Joong-man’s, Mi-ran’s, and Tae-young’s—are compelling in their own right. Thanks to solid character development, each thread remains engaging and keeps you invested in every twist and turn. Much like the characters in Coen Brothers films, these individuals are flawed, eccentric, and deeply human; they find themselves in bizarre and frequently absurd circumstances, trapped in lives of despair and desperation from which money appears to be the only escape. As a result, it’s fascinating to watch them push themselves to the extreme in an effort to escape their circumstances and secure the money, even committing acts they never imagined they were capable of.
While the plot does contain a few loopholes—such as characters inexplicably knowing each other’s whereabouts and certain characters feeling underwritten, particularly Yeon-hee (Jeon Do-yeon), whose actions place her boyfriend Tae-young in debt to the gangster Mr. Park (Jung Man-sik)—her character ultimately ties the story’s threads together. As a result, these flaws don’t significantly hinder the film or become deal breakers. The plot deftly weaves together the fates of all the characters near the end without feeling forced, resulting in a satisfying conclusion. Beasts Clawing at Straws may not break new ground in story or theme, but Kim Yong-hoon’s stylish, confident execution elevates the material, resulting in an entertaining thriller that’s well worth seeking out.
9. Limbo (2021) – Soi Cheang
After being impressed by Twilight of the Warriors: Walled In (2024), I dug into Soi Cheang’s filmography and unearthed gems like Dog Bite Dog (2006), Motorway (2012), and Accident (2009), which confirmed his status as a true master of gritty filmmaking. His 2021 film Limbo is a fierce, hyper-stylized black-and-white Hong Kong neo-noir thriller that delivers a raw, unforgettable viewing experience. Will Yam (Mason Lee), a rookie cop fresh out of the academy, teams up with Gordon Lam (Gordon Lam), a disillusioned veteran detective, to look into the spate of murders that has shaken Hong Kong. At the same time, Wong To (Cya Liu)—the ex-con whose reckless act killed Cham’s daughter and put his wife in a coma—shadows him, trying to make amends as her past becomes entangled in the investigation. As the investigation progresses, both detectives face personal challenges that complicate their pursuit of the killer, pulling them into a bleak landscape where violence, guilt, and desperation collide.
While the plot isn’t particularly original, the film excels through its exceptional execution, showcasing masterful visual storytelling with every frame drenched in the muck and ruin of Hong Kong’s underbelly. Cheang depicts a world where violence and suffering are inescapable. Each character faces relentless physical and emotional torment, trapped in what feels like a never-ending cycle. The cinematography is a full-on sensory barrage, overflowing with stark contrasts, rain, grime, and gleaming surfaces—creating a meticulously composed panorama of decay where shadow, smoke, water, and debris dominate the screen. What truly enriches the film is the addition of Wong To, the remorseful young woman who caused the accident that resulted in the death of Cham Lau’s daughter and the hospitalization of his wife. Rather than fleeing, she accepts full responsibility, and her crushing guilt drives her to seek Cham Lau’s forgiveness. Even though Cham Lau repeatedly mistreats her, she assists the detectives and provides key leads. It’s an unusual and compelling character, brought to life by Cya Liu’s standout performance, which becomes the emotional backbone of the story.
The action in the film is top-notch, particularly a memorable scene around the halfway point that ranks among the best I’ve seen recently; it left me speechless. The standout extended sequence starts with the two detectives and Wong To escorting a drug-dealer woman with a severed arm (who can identify the killer) through one of Hong Kong’s roughest neighborhoods. When they arrive, the group splits up, causing complete chaos: the woman flees, and Cham Lau chases her; the killer lurks in the shadows; Wong To is hunted by the drug dealers that she ratted out earlier; and Mason Lee tracks the killer through the maze-like streets. Set across damp, garbage-strewn alleyways and derelict car yards, the scene is a masterclass in tension. However, the film stumbles in its final moments, arriving at an ending that feels rushed and forced—as if the filmmakers were determined to reach that specific ending despite having other stronger alternatives. Even though the film doesn’t fully deliver its themes of institutional corruption, suffering, and moral collapse, mainly because the serial killer’s character isn’t properly fleshed out, it nevertheless stands out as essential viewing for the craftsmanship on display.
8. No Sudden Move (2021) – Steven Soderbergh
With its snappy pacing, clever turns, and effortless cool, Steven Soderbergh’s No Sudden Move stands as a neo-noir delight that never got the recognition it deserved. Set in 1954 Detroit, the film follows gangster Curt Goynes (Don Cheadle), who joins forces with Ronald Russo (Benicio Del Toro) and Charley (Kieran Culkin) for what appears to be a straightforward assignment: to blackmail a bank accountant, Matt Wertz (David Harbour), by holding his family hostage while sending him to his office to steal a document from his boss’s safe. However, the job doesn’t proceed as expected, leading to a series of complications that ultimately result in Charley’s death and Curt and Russo fleeing after discovering they’ve been set up. As a result, their search for the truth leads them straight into the orbit of mob bosses, fixers, and other shady operators, entangling them in a maze of double-crosses, hidden motives, and influential players fighting for control.
I am a sucker for neo-noir crime capers, and this is right up my alley. The film’s inciting incident, the robbery sequence, is tense, darkly funny, and exceptionally directed, and reminded me of the heist sequences in The Friends of Eddie Coyle (1973). After the heist goes awry, the film picks up speed as we follow Frank and Curt as they dig into the mystery of the document and learn who’s pulling the strings. They find themselves chased by corrupt cops, mob bosses, and powerful elites as they unravel a conspiracy that fits seamlessly with the gritty backdrop of 1950s Detroit.
Soderbergh and his cinematographer, Peter Andrews, create a deeply cynical world in which trust is nonexistent and everyone is scheming for money and betraying each other. The screenplay skillfully introduces a roster of intriguing characters at just the right moments in the film: mob boss Frank Capelli (Ray Liotta), his rival Watkins (Bill Duke), police officer Joe Connelly (Jon Hamm), auto-industry executive Mike Lowen (Matt Damon), and Frank’s wife Vanessa (Julia Fox), who embodies a classic femme fatale. Each supporting character serves a specific purpose, keeping the plot tight, engaging, and constantly in motion.
Through No Sudden Move, Soderbergh examines a corrupt power structure in which only the most ruthless rise to the top. He depicts how greed fuels everyone—from low-level criminals to the most powerful individuals—and exposes a system designed to protect the elite while exploiting those with no power. Don Cheadle and Benicio del Toro anchor the film with effortless charisma and commanding screen presence, particularly del Toro, whose slick, laid-back, cool performance makes every scene an absolute joy to watch. Soderbergh continues his outstanding creative run with No Sudden Move, a film that stands confidently among his most impressive recent achievements.
7. Emily the Criminal (2022) – John Patton Ford
Emily the Criminal is a taut, urgent, and socially relevant contemporary neo-noir thriller written and directed by John Patton Ford in his impressive directorial debut. The film centers on Emily Benetto (Aubrey Plaza), a young woman drowning in student debt whose criminal record keeps her from securing steady work, forcing her to take gig work delivering orders for a catering service. Struggling to stay afloat, Emily is drawn into a credit card fraud operation run by Youcef (Theo Rossi), who offers her a quick way to make money. As she takes on increasingly risky jobs, she sinks deeper into the criminal underworld. Her growing romantic connection with Youcef complicates matters further, especially as both find themselves in danger from the people running the fraudulent operation.
One of the film’s greatest strengths is Emily herself—a richly drawn character whose challenges mirror the experiences of many young people who don’t come from wealth or influential families. Emily comes from a low-income family, has enormous student debts that she will never be able to pay back, works odd jobs to make ends meet, and her criminal record—a college DUI and an assault arrest—makes it even harder for her to pass background checks and land a real, stable, well-paying job. She tries diligently to redeem herself from her past mistakes and start over, but the system refuses to let her. With no real opportunities left, she resorts to whatever means necessary to survive, stumbling into credit card fraud out of sheer desperation rather than criminal intent. Here, the film’s crime element (a credit card scam) feels fresh and original, making for an interesting watch as Emily finds herself in the world of crime and encounters several challenging and unfamiliar situations, exploring her character deeper.
The film’s screenplay maintains a steady, energetic rhythm, and the tension remains consistent as viewers stay invested in the challenges Emily encounters and the decisions she makes in response. The makers paint a bleak picture of Los Angeles’ hidden corners, exploring how capitalism and a broken job market punish the vulnerable. With low-key, naturalistic lighting, the film radiates grit and constant tension, transforming modern LA into a harsh, unforgiving, daylight-driven noir landscape. Aubrey Plaza delivers a career-best performance, capturing Emily’s desperation and inner conflict with striking clarity. Even as an anti-hero making questionable choices, she remains deeply relatable and easy to empathize with.
6. Holy Spider (2022) – Ali Abbasi
Ali Abbasi’s sophomore film, Holy Spider, is a gripping neo-noir serial-killer drama that boldly critiques Iran’s oppressive society and its attitudes toward women. The film begins in Mashhad, Iran’s second-largest city, with a man picking up sex workers in the middle of the night, transporting them to his home, and strangling them with their scarves. After each killing, he calls a local journalist, Sharifi (Arash Ashtiani), to reveal the body’s location, and the press eventually nicknames him “the Spider” because of his distinctive method of murder. As the murders continue, a female journalist named Arezoo Rahimi (Zar Amir Ebrahimi) arrives from Tehran to investigate. However, as a woman, she struggles to obtain cooperation from the police and court officials. With no help from the authorities, Rahimi chooses to pursue the case herself, teaming up with Sharifi to begin her investigation.
What makes the film particularly intriguing is that the screenplay reveals the killer’s identity early on and focuses instead on an in-depth character study of him. Saeed Hanaei (Mehdi Bajestani) is a construction worker and former Iran-Iraq War veteran who is suffering from post-traumatic stress disorder. He is also a family man, with a wife, Fatima (Forouzan Jamshidnejad), and two children. Despite being a serial killer, he treats his family with surprising tenderness and shows genuine affection and respect for his wife. However, Saeed is struggling to find meaning in his life following the war. He kills sex workers under the belief that they are immoral and must be removed from society, convinced he is carrying out God’s will. In reality, his urge to kill surfaces whenever he feels insignificant and worthless.
When Rahimi takes the investigation into her own hands, the film shifts into a more conventional investigative thriller, becoming increasingly predictable. However, once Saeed is apprehended, the film takes a surprising turn. The shocking response of society to Saeed’s actions exemplifies the people’s oppressive mentality, particularly towards women. In addition, the film deftly examines how the mob mentality can transform a villain into a hero, as well as what happens when society’s children begin to idolize such people. This is what Abbasi emphasizes toward the film’s end, when Saeed’s son Ali vehemently defends his father, describing him as a superhero who did God’s work and aspires to be like him.
Zar Amir Ebrahimi delivers a stunning performance as Arezoo Rahimi, portraying her as a fierce, lone warrior battling misogyny, sexism, and systemic oppression while pushing forward with her investigation against all odds. Mehdi Bajestani delivers a gripping performance, seamlessly switching between a ruthless killer of women and a tender, devoted family man, playing both sides with remarkable conviction.
5. Femme (2024) – Sam H. Freeman, Ng Choon Ping
In “Femme,” Sam H. Freeman and Ng Choon Ping craft a captivating neo-noir psychological thriller that offers a bold, uncompromising exploration of trauma, identity, and vengeance. Jules (Nathan Stewart-Jarrett), a Black gay drag performer, is violently attacked outside a nightclub by Preston (George MacKay), a white criminal, and his friends. Months after the attack, Jules crosses paths with Preston again—this time stripped of his violent façade—and approaches him under a new identity, knowing Preston doesn’t recognize him. Realizing Preston is closeted and drawn to him, the two begin a relationship. But as he becomes further entangled in Preston’s world, the boundaries between revenge, desire, and manipulation blur, pulling both men into a volatile, dangerous bond fueled by secrets and unresolved trauma.
The film delivers a nuanced examination of two contrasting characters, offering insight into their psychological states while analyzing the intricate dynamics and sexual tensions that define their relationship. Preston is secretly gay and is afraid to accept his sexuality publicly. His mind constantly battles between admitting who he really is and breaking free from the conditioning that holds him back. His gangster image appears to be an attempt to fit in with his peers. Unlike Preston, Jules is open, proud, and confident about his emotions and embraces his sexual identity. His alter ego or drag persona is flamboyant, unapologetic, and fearless. However, following the attack, his confident and expressive personality shifts, leaving him physically and emotionally shattered and leading him down a morally fraught path of infiltration and revenge.
The script highlights each character’s duality, skillfully navigating their gray areas and elevating the story with a grounded, human touch. It refuses to be a reductive, two-sided drama and handles its deeper themes with maturity. In addition, Femme is a gripping thriller that seamlessly transitions between genres. At times, it makes us wonder about Jules’ motivations for starting a relationship with Preston. Is it out of genuine love or simply for sexual pleasure? Is he looking for intimacy or just revenge? By repeatedly forcing us to question its motives and moral stance, the film becomes a compelling psychological thriller.
4. The Card Counter (2021) – Paul Schrader
With The Card Counter, Paul Schrader—long known for dissecting the darker corners of the human psyche—delivers another gripping character study about a morally conflicted man wrestling with guilt and the hope for redemption. William Tell (Oscar Isaac), a former military torturer at Abu Ghraib, has spent eight and a half years in prison and now lives as a solitary, disciplined gambler on the casino circuit. His fragile stability falters when he meets Cirk (Tye Sheridan), a troubled young man out for vengeance on John Gordo (Willem Dafoe), the man who trained both William and Cirk’s father, eventually driving Cirk’s father to addiction and suicide. William also forms a cautious alliance with La Linda (Tiffany Haddish), who scouts and backs up promising gamblers. In his efforts to steer Cirk away from vengeance and toward a more positive direction in life, William must face the repercussions of his own past, leading to tragic consequences.
Throughout Paul Schrader’s filmography, his protagonists share a key set of characteristics: they are lonely, isolated, self-destructive, morally conflicted people seeking redemption or transcendence. What sets each film apart is the distinct world he places these characters in—environments that reshape and intensify their inner turmoil. Travis Bickle (Robert De Niro) wanders through the neon-lit, violence-filled streets of New York in Taxi Driver (1976); John LeTour (Willem Dafoe) moves through the drug-laced haze of Light Sleeper (1992); and Julian Kay (Richard Gere) navigates the seductive, hollow world of male escorts in American Gigolo (1980). In each film, Schrader reshapes this archetype within a new moral and social landscape, allowing different layers of these characters to emerge.
The Card Counter continues this tradition. Here, Will Tell inhabits a lonely, cynical world of professional gambling, drifting from one casino to another across the country. He keeps himself invisible by playing small, collecting modest wins, and sleeping in anonymous motels far from the casino floor. But beneath his controlled exterior, he battles deep internal turmoil rooted in his past as a torturer trained by the sadistic John Gordo (Willem Dafoe). More than guilt or regret, what truly torments him is hatred—toward those who trained him, confined him, and taught him to normalize torture, which eventually landed him in military prison for eight and a half years. As a result, during his years in prison and through his disciplined life as a gambler, he has mostly learned to suppress those emotions and move past them.
However, everything changes when Cirk enters his life. Will takes the young man under his wing, helping him return to school and repay his debts while desperately attempting to purge the anger and resentment that have consumed him. But Cirk’s fixation on revenge keeps him from moving on, and through him, the hatred and violence Will buried long ago resurfaces, resulting in a brutal and tragic finale. Oscar Isaac delivers a flawless performance as Will Tell, a troubled man whose seemingly placid exterior belies a tempest of animosity, trauma, and moral remorse. The Card Counter may not be Schrader’s best work, but it does demonstrate his unique ability to blend moral inquiry with minimalist, character-driven storytelling.
3. Love Lies Bleeding (2024) – Rose Glass
With Love Lies Bleeding, her second feature after the impressive Saint Maud (2019), Rose Glass delivers a pulpy, violent, and seductive queer neo-noir that bursts with style, momentum, and fearless filmmaking. Set in a rural New Mexico town in 1989, the film follows Lou (Kristen Stewart), a reclusive gym manager, who meets Jackie (Katy O’Brian), an ambitious bodybuilder traveling to Las Vegas to pursue her competition dreams, and sparks a fierce and passionate romance. But both women carry heavy emotional baggage, and their love soon sparks violence—particularly when it intersects with Lou’s troubled family: her sister Beth (Jena Malone), Beth’s husband JJ (Dave Franco), and Lou Sr. (Ed Harris), her estranged father who controls the local criminal underworld. As Jackie’s ambitions clash with Lou’s buried past, their romance spirals into a world of crime, obsession, and desperate choices.
Like many neo-noirs of the 1990s, Love Lies Bleeding unfolds in a desolate small town that feels cut off from the world, where violence is a never-ending cycle. In that forsaken town, Lou struggles to break free from the influence of her father, Lou Sr., the local crime lord who runs guns across the border. Then Jackie storms into Lou’s life like a sudden storm in a quiet night, igniting a scorching, whirlwind affair. Their chemistry is undeniable—fiery, electric, and dangerously consuming. It’s the kind of destructive passion that feels destined to burn everything in its path. Their volatile bond feeds on sex, steroids, and the dangerous pull between two wildly different personalities.
Things take a dramatic turn when a brutal act of violence propels the characters into increasingly tight situations where their backs are against the wall. This is where the film’s rich character work pays off: Lou is shaped by the brutality of her father’s world and longs to break free, while Jackie, grown up, abandoned, and adrift, is driven only by her lifelong dream of becoming a champion bodybuilder—her simmering rage and unchecked aggression becoming defining forces in her actions. The film depicts how passion leads to destruction, while also celebrating how love empowers marginalized people (queer women, in this case) to fight back against their oppressors. This leads to a bold and polarizing climax in which Rose Glass takes the story into surreal territory and challenges traditional neo-noir conventions.
Although I wasn’t a fan of the ending at first, it has grown on me over time. It captures how love and obsession can evolve into a monstrous, transformative violence—both literal and metaphorical—that frees the lovers even as it destroys everything in their path. Katy O’Brien is phenomenal, fully inhabiting Jackie with a mix of vulnerability and sheer physical power, delivering a performance that feels almost superhuman. Love Lies Bleeding is a fierce, unapologetically queer, gender-bending thriller—bold, unforgettable, and driven by a singular vision you won’t want to miss.
2. Nightmare Alley (2021) – Guillermo del Toro
Though not as forceful or hard-hitting as the 1947 classic, Guillermo del Toro’s adaptation of William Lindsay Gresham’s 1946 novel Nightmare Alley delivers a brooding, visually sumptuous neo-noir—dark, atmospheric, and morbidly captivating from beginning to end. In 1939, Stanton Carlisle (Bradley Cooper), a down-and-out drifter with a violent past, takes a job as a carny with a traveling carnival. He learns the art of mentalism from seasoned performers like Zeena (Toni Collette) and her husband, Pete (David Strathairn). Rising through the ranks quickly with charm and manipulative abilities and taking advantage of the new skills he’s acquired, Stanton partners with Molly (Rooney Mara) for a new act that catapults him to the big leagues, where he becomes a mentalist for the elite community. Climbing into a more glamorous tier of society, Stanton seeks access to richer, more powerful people and thus teams up with Dr. Lilith Ritter (Cate Blanchett), a sophisticated psychologist whose motives are anything but clear. However, Stanton’s ambitions lead him deeper into a dangerous labyrinth of manipulation and desire—one that carries grave repercussions.
The film follows the classic rise-and-fall arc of Stan Carlisle, a man who emerges from nothing and carries the weight of a haunting past. The opening scene implies that he killed his father, establishing him as a character shaped by trauma and unresolved “daddy issues.” As Stan establishes himself in the carnival world, his ambition grows, and the darker side of his nature pushes him toward greed and deception. His talent for manipulation propels him to rapid success, wealth, and confidence. But as he climbs higher, he develops a god complex, convinced he can outsmart anyone. His unchecked ego and desire for power drive him to defraud increasingly dangerous and influential people, eventually leading to his ruinous downfall. By the end, Stan finds himself right back where he started, completing the tragic cycle that defines his journey.
The screenplay’s measured, linear structure creates a rich, engrossing world (that feels both magical and grotesque) with thoughtfully realized characters, while ensuring that a persistent aura of doom and darkness follows Stan everywhere. Despite del Toro’s self-indulgent immersion in his own world, resulting in a lengthy two-and-a-half-hour runtime and a stretched second act, the film’s remarkable craftsmanship consistently captures your attention. The film truly comes alive with the arrival of Dr. Lilith Ritter, played by Cate Blanchett, who delivers one of the most compelling femme fatale performances in recent memory. She steals every scene, and her electrifying exchanges with Stan stand out as the film’s finest moments. Additionally, the haunting final act—both devastating and memorable—infuses the movie with a chilling sense of inevitable tragedy, heightening its overall impact. Bradley Cooper gives a deeply committed and commanding performance as Stan, carrying the film with his portrayal of a man who is charismatic, opportunistic, relentless, and heartbreakingly vulnerable. His performance, especially in the final scene, is nothing short of exceptional, reminding us why he is one of the best actors working today.
1. Decision to Leave (2022) – Park Chan-wook
Park Chan-wook delivers a mesmerizing blend of emotion, intrigue, and mystery in Decision to Leave, a neo-noir thriller that showcases him operating at the peak of his artistry—and is the best neo-noir film of the 2020s. Hae Jun (Park Hae-il), a talented but insomniac detective, is looking into the suspicious death of a man who fell from a mountain. Sensing something amiss, he follows a series of clues that point him toward the victim’s wife, Seo-rae (Tang Wei), an enigmatic immigrant nurse whose calm demeanor and elusive answers place her high on his list of suspects. As the investigation deepens, Hae-jun becomes increasingly captivated by the mysterious Seo-rae, blurring the line between professional duty and personal obsession—an entanglement that risks dangerous consequences.
As a genre-bending blend of romance and mystery, the film succeeds brilliantly on both levels. The love story between Song Seo-rae and Jang Hae-jun stands among the finest screen romances in recent memory—majestic, sensual, and profoundly moving. Their simmering tension and deeply felt moments, paired with the film’s enchanting score, create something truly magical. Their chemistry crackles with authenticity, making this one of the most original and captivating love stories of the decade. The film’s core mystery is equally gripping, not so much because of the final reveal, but because of the complex and emotional journey Jang undergoes to reach it. However, since this is a Park Chan-wook film, the story inevitably becomes more layered, especially in the second half, which unfolds 13 months later. The plot becomes increasingly intricate, yet it maintains its clarity, commanding your full attention and leading to a heartbreaking, devastating conclusion that lingers in your mind long after the film concludes.
Decision to Leave showcases Park Chan-wook at the height of his visual powers, crafting a stunningly composed film filled with multilayered framing, unconventional camera angles, and razor-sharp editing to maintain a constant sense of tension and anticipation. Leaning into noir tendencies, the film bathes its world in shadows, fog, rainy windows, and somber nightscapes enhanced by hazy, dreamlike lighting that envelops everything in an aura of mystery and ambiguity. Through its surveillance shots, reflective compositions, and frames within frames, the film evokes themes of entrapment and duplicity, enhancing its noir tone without resorting to genre stereotypes.
Additionally, the film explores issues like obsession, moral uncertainty, and the conflict between duty and desire, especially when emotional emptiness begins to take hold. Both Tang Wei and Park Hae-il are exceptional, each bringing remarkable depth to their roles. Park Hae-il gives a beautifully restrained performance as Hae-jun, embodying his fatigue, yearning, and quiet turmoil. On the other hand, Tang Wei balances mystery, warmth, and irresistible charm, making her instantly captivating. Undoubtedly, the best neo-noir film of the 2020s so far.
Best Neo-Noir Films of the 2020s Links: Letterboxd, Wikipedia, IMDB
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