<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom"><channel><title>Film Noir on Sunday Evening Review</title><link>https://sundayeveningreview.com/tags/film-noir/</link><description>Recent content in Film Noir on Sunday Evening Review</description><generator>Hugo</generator><language>en-us</language><lastBuildDate>Thu, 02 Jul 2026 06:00:00 -0500</lastBuildDate><atom:link href="https://sundayeveningreview.com/tags/film-noir/index.xml" rel="self" type="application/rss+xml"/><item><title>What Is Film Noir</title><link>https://sundayeveningreview.com/screen/what-is-film-noir/</link><pubDate>Thu, 02 Jul 2026 06:00:00 -0500</pubDate><guid>https://sundayeveningreview.com/screen/what-is-film-noir/</guid><description>&lt;p>The term &amp;ldquo;film noir&amp;rdquo; was coined by French critics in the summer of 1946, when American films blocked from European distribution during the war finally arrived in Paris simultaneously. Critics who watched &amp;ldquo;Double Indemnity,&amp;rdquo; &amp;ldquo;Laura,&amp;rdquo; and &amp;ldquo;The Maltese Falcon&amp;rdquo; in quick succession noticed something they hadn&amp;rsquo;t seen before: a consistent darkness, not just in subject matter but in the way the images themselves were built. They borrowed a phrase from literature. &amp;ldquo;Serie noire&amp;rdquo; was already the name for French translations of American hard-boiled crime fiction. The films needed a name too.&lt;/p></description></item></channel></rss>