Film noir reconfigured in the Essay-film 33, by Kiko Goifman

This research takes into account the conjunction of two often polemic topics when dealing with cinema studies: the film noir and the essay-film. More specifically, the essay-film 33 (Kiko Goifman, 2002) and its use of noir aesthetics, form and themes in order to develop the process of (thinking of) meeting a biological mother. Through bibliographical research about the two kinds of films here described and analysis of the films 33, The Maltese Falcon (John Huston, 1941) and Murder, My Sweet (Edward Dmytryk, 1944), it is plausible to say the noir tropes are rekindled with a documentary-ish style akin to the cinema veritee, stating that, actually, there is no truth at all. The blurred boundaries between right or wrong in noirs give place to the blurred boundary between questions and answers in 33.