When a genre is considered to have only lasted for about a decade, it stands to reason that a film festival celebrating it would necessarily have to expand its parameters after a decade and a half. Hence, Noir City 14 featuring a number of pictures that are dark in tone and intent, if not in the classic noir aesthetic. Case in point is Michael Powell's career-defining 1948 Technicolor extravaganza The Red Shoes, a story of backstage machinations in the British ballet world that, visually speaking, is about as far from noir's low-budget monochrome as you can get — but is absolutely required viewing on the Castro's big screen. Also by Powell is his 1962 career-destroying Peeping Tom, about a disturbed cameraman with a compulsion to film the fear of women before he murders them. Killing on film also factors into Michelangelo Antonioni's1966 Blow-Up, about a photographer in Swinging London who may have inadvertently captured evidence of a murder. And for all that Britishness, it doesn't get much more American than Howard Franklin's 1992 The Public Eye, starring Joe Pesci as a hard-boiled 1940s cameraman based on the real-life photographer known as Weegee, who crawled the New York night looking for (already-committed) murders to preserve on film.