Film noir as a genre was born in America after the Great Depression with a visual style reminiscent of German expressionist cinematography. It reflects the general sense of pessimism, cynicism and dark confusion of the era. He became widely known for his psychologically expressive approach to visual composition and many definitive stylistic elements. The use of dark and white lighting, a morally ambiguous protagonist, loose plots, a corrupt authority figure, and a femme fatale persona were among its defining characteristics. Neo noir, a subgenre of the classic definition, uses the fundamental elements of film noir but with evolved characteristics more suited to contemporary society, in particular towards technological progress. Christopher Nolan's neo noir psychological thriller Memento (2000) encompasses many of the widely known characteristics of classic film noir in a unique way. Its form, narrative, cinematography and mise-en-scène show its undeniable place in modern neo noir film. It tells the story of Leonard (Guy Pearce), a grief-stricken man searching for his wife's killer, the same person responsible for his short-term memory loss that has frozen him in time. Although he fails to create new memories, he attempts to seek revenge for his wife's murder with the help of mementos he leaves behind for himself, including polaroids with notes scribbled in the margins and tattoos covering his body. Among his notes are the important people he meets, including Teddy (Joe Pantoliano), the corrupt police officer, and Natalie (Carrie-Anne Moss), the femme fatal with suspicious motives. The film's use of neo noir conventions is made evident from the beginning. scene. It opens with a man opening a polaroid. In the photo there is a body lying with its face in the center of the paper. It allows the viewer to share Leonard's every experience and emotion wholeheartedly and work until the last scene to piece the entire complicated puzzle together. This work speaks volumes about the capacity of film: not only what can be represented but what can be taken away. Every viewer undoubtedly walks away feeling the same anger, confusion, and helplessness that Leonard felt at every moment trapped in time. Even when he realizes what he worked so desperately for – finding his wife's killer – he realizes that he will never get the satisfaction of feeling like her death has been avenged because moments later, he was gone. In an almost tragic conclusion to a story doomed to fail from the start, Leonard's life becomes one of searching for his wife's killer because that's all he has left. His last memory has become what he is: a man eternally seeking revenge that he will never get.