FilmsMoi, un noirLike this

Films like Moi, un noir.

Moi, un noir (1958) reads as Neutral, measured, measured documentary / ethnographic, inventive in texture. Ambivalent, intimate, measured. Every film below is ranked by distance across the same twelve hand-scored axes — with what it keeps, and where it walks away. Not a genre dump.

The Sun in a Net (1963) poster
1. The Sun in a Net1963

Keeps the cold, bleak undertow and the unmistakable directorial hand; trades toward a patient, unhurried pace.

Ajantrik (1958) poster
2. Ajantrik1958

Keeps the patient, unhurried pace and the cold, bleak undertow — one of the nearest reads in the catalogue.

The Ceiling (1962) poster
3. The Ceiling1962

Keeps the cold, bleak undertow and the unmistakable directorial hand; trades toward a patient, unhurried pace.

Cléo from 5 to 7 (1962) poster
4. Cléo from 5 to 71962

Keeps the patient, unhurried pace and the cold, bleak undertow — one of the nearest reads in the catalogue.

Lola (1961) (1961) poster
5. Lola1961

Keeps the unmistakable directorial hand and the heightened unreality; trades toward a patient, unhurried pace.

Something Different (1963) poster
6. Something Different1963

Keeps the cold, bleak undertow and the unmistakable directorial hand; trades toward a patient, unhurried pace.

Walking the Streets of Moscow (1965) poster
7. Walking the Streets of Moscow1965

Keeps the patient, unhurried pace and the cold, bleak undertow — one of the nearest reads in the catalogue.

Shadows (1959) poster
8. Shadows1959

Keeps the patient, unhurried pace and the cold, bleak undertow; trades toward a grounded, familiar shape.

July Rain (1967) poster
9. July Rain1967

Keeps the patient, unhurried pace and the unmistakable directorial hand — one of the nearest reads in the catalogue.

E-Flat (1961) poster
10. E-Flat1961

Keeps the cold, bleak undertow and the unmistakable directorial hand; trades toward a patient, unhurried pace.

Identification Marks: None (1965) poster
11. Identification Marks: None1965

Keeps the unmistakable directorial hand and the heightened unreality; trades toward a cold, bleak undertow.

The Fiancés (1963) poster
12. The Fiancés1963

Keeps the cold, bleak undertow and the unmistakable directorial hand — one of the nearest reads in the catalogue.

These are Moi, un noir’s neighbours — where are yours?

Rate five posters and the same twelve axes read you — then tonight’s pick comes from your own centre of taste.

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