With Le Samouraï, Jean-Pierre Melville crafts a minimalist noir where absolute silence is golden, a foil to the heavy use of grey tones that cast dark, foreboding clouds over the slow proceedings. Possibly the most beautiful film of the ’60s, every scene takes place in real-time as if a natural coil is slowly wrapping around Jef Costello. Voyeuristic, spacious, and above all, cautious, Le Samouraï is one of the finest examples of a movie speaking louder without words.