As you might expect, there is certainly a "noir" component to be found amongst the 12 films that will be screening, but it is limited to four of the twelve films and all but one are "neutral" or "flat" WRT their scores in the "noir-o-meter."
More details about the films (including screening times...) are at the site, but here's a titles list::
FRIDAY MAY 13 • CHILDREN IN PERIL
Los Olvidados (1950, Mex, Buñuel)/Jeux Interdits aka Forbidden Games (1952, France, Clément)
SATURDAY MAY 14
MATINEE • BEYOND THE KITCHEN SINK
No Love For Johnnie (1961, UK, Thomas)/Nothing But the Best (1964, UK, Clive Donner)
EVENING • STRANGE AFTERMATHS OF WAR
Ashes & Diamonds (1958, Poland, Wajda)/The Condemned of Altona (1962, Ital-Fr, DeSica)
SUNDAY MAY 15
MATINEE • TOTÓ ET FERNANDEL: EUROPEAN COMIC MASTERS
The Passionate Thief (1960, Italy, Monicelli)/The Sheep Has Five Legs (1954, France, Verneuil)
EVENING • IN SEARCH OF "MIDCENTURY AMERICAN ARTHOUSE"
The Bad Seed (1956, USA, LeRoy)/The Savage Eye (1960, USA, Maddow-Meyers-Strick)
Patty McCormack, star of The Bad Seed, in person
MONDAY MAY 16 • THE PERIL IN "COMING-OF-AGE
Hets aka Torment (1944, Sweden, Sjoberg)/Rapture (1965, France-USA, Guillermin)
Our mix of "rare" and "unforgettable" helps us anchor many emerging elements of arthouse cinema across a wide range of genres. We need to see where it all came from, and these twelve films provide us with some intriguing clues about that.
From the marketing side we aimed to have better-known films for the evenings, often combined with a real rarity that elaborates on the theme or takes it into a completely new direction. We placed the three comedies into the matinees.
Of the four "noirs" here, only LOS OLVIDADOS is a slam-dunk. The other three films (CONDEMNED OF ALTONA, THE BAD SEED, THE SAVAGE EYE) are in the "grey range" of noir, with all of them scoring strongly in the "melo" elements. ALTONA and THE BAD SEED rely on noir characters whose stories are told without much use of noir visuals or screenwriting techniques; THE SAVAGE EYE is more neutral in character simply because the cast is so limited; its noir bonafides emerge via the mise-en-scene.
The Monday night pairing is a fave of mine, and not just for the juxtaposition of titles (TORMENT/RAPTURE). The odyssey of "arthouse" themes can be captured in the juxtaposition of these two films with their look at the roughest possible passage into adulthood.
Really looking forward to this series--and to seeing some of you at the Roxie in a couple of months. Very different, very unusual, and very much "swinging from the rafters"... (!!)