Abstract
T he femme fatale, the phallic mother, and the new woman: we know this trinity from a now-classic body of feminist analysis on classic film noir. I rescript its gender in my title because I am interested in the transformation of classic noir's gendered division of investigation visible in the most recent neo-noir. Multiple thrillers of the past few years transport us to the seamy side of big cities by night, to follow a disjunctive narrative unfolded in shadowy sequences filled with strangely distorting camera angles, where an observer, often a detective, delves into how life really is beneath the veil of the nuclear family and uncovers social deviance confounding sexuality and criminality into one. Striking, however, is
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