(BTW, I do think that NC SF is going to go to Roman numerals next year...) :-)

For a still-vital subgroup of European noir/neo-noir aficionados, there is still a viable nexus of "dark film"/"art-pulp" literature to collectively examine, and among the focal points for that can be found at the NOIR IN FESTIVAL event, customarily held in Milan during December. This year (12/10-12/15) was no exception.

Noir, horror (particularly the contemporary extension of the giallo tradition) and mystery are the focal points for the film portion of NOIR IN FESTIVAL (which also gives awards and has panel discussions about Eurocentric "noir literature"--though its highest award is named after Raymond Chandler).

You are encouraged to spend some time familiarizing yourself with this highly professional event, which is well-funded (and well-documented: note the copious amount of available video from the proceedings) at this link:

https://www.noirfest.com/2021/

What follows below is a quick listing of the mostly European films that were in competition at NOIR IN FESTVIAL XXXI (though note that the festival winner is a film from Canada, the French-Canadian LES OISEAUX IVRES aka DRUNKEN BIRDS, which has also been chosen to be Canada's entry for the foreign film Academy Award in 2022).

https://www.noirfest.com/2021/index.php/les-oiseaux-ivres-drunken-birds/

https://www.noirfest.com/2021/index.php/de-uskyldige-the-innocents/

https://www.noirfest.com/2021/index.php/diario-di-spezie/

https://www.noirfest.com/2021/index.php/earwig/

https://www.noirfest.com/2021/index.php/inexorable/

https://www.noirfest.com/2021/index.php/seperti-dendam-rindu-harus-dibayar-tuntasvengeance-is-mine-all-others-pay-cash/

https://www.noirfest.com/2021/index.php/vanishing/

Many of the directors represented here have already a sizable number of credits. For example, Lucile Hadzihalilovic (a French filmmaker/editor) began her career at the turn of the century as an editor for controversial director Gaspar Noe. Another veteran French filmmaker, Denis Dercourt, shifted from comedy toward dark drama with THE PAGE TURNER (2006) and he has continued to move in that direction ever since; VANISHING sees him shift his setting from France to South Korea for a psychological crime drama. Belgian director Fabrice de Welz has had previous coverage for prior works in the USA, including 2021's INEXORABLE (which was noted here earlier in the year).

You are encouraged to explore these films, and we'll keep an eye out for their appearances on-screen, either virtually or in theaters.