In classic Hollywood cinema, the plot proceeds mainly through the conflict between order and chaos. This is the case with most Film Noir films, a popular genre that began in the 1940s. In The Big Sleep (1946) and Chinatown (1976), the two main characters, private investigators, are associated with order while all the “femme fatale” characters bring chaos to the films' narrative. Just like all Film Noir films, The Big Sleep and Chinatown begin with a sense of balance. Everything is in order, until something bad happens: a death. Eventually, private investigators find the killer and balance and order are restored. But what happens in the meantime? The “Femme fatale” will add chaos and cause the investigation to proceed more slowly than it should. In classic Hollywood cinema, the main character motivates the action through his own goals and desires: the pursuit and heterosexual romance. But how can the love story between the main character and a “femme fatale” bring chaos to the story? The classic femme fatale of film noir has many qualities: manipulative, liar...