Jean-Paul Belmondo in Le Doulos (Jean-Pierre Melville, 1962)

In the dark, all cities look much the same, especially around the edges where they start to unravel. Picture a patch of waste land: gravel and weeds, litter scuffling in the wind, murky water glinting in the dim light, and some furtive figures in the shadows, up to no good. Where are we? What city is this? It could be Seoul or Buenos Aires, Mexico City or Prague, the grimy outskirts of Paris or the grimy outskirts of Tokyo. All these places were featured at Noir City 18, the latest edition of the Film Noir Foundation’s flagship festival held each January in San Francisco. This year’s lineup focused on international films from roughly the classic noir era (the earliest was from 1938, the latest from 1965). Every country inflects film noir with its own accent, its particular climate, and its patrimony of half-buried fears. Noir City’s…

Sauce