Point Blank (1967)

Lee Marvin's betrayed criminal walks through expanses of pale concrete, glass and impersonal modern architecture that seem to have no use for him. John Boorman makes bright corporate space feel as alienating as any dark alley. The revenge plot provides a foothold while fragmented time and abrupt transitions keep certainty out of reach. It is a particularly bracing choice if you want to see noir's old treacheries survive inside a cleaner, apparently more rational city.