Jacques Rivette’s 1976 movie Duelle opens with a textbook film noir scenario: One night, a mysterious woman named Leni (Juliet Berto) — who’s even dressed in 1940s-style clothing, despite the fact that the film seemingly takes place in the era in which it was made — arrives at a Paris hotel and requests a specific room. She explains to Lucie (Hermine Karagheuz), the porter on duty, that it’s the room in which her former longtime lover Max Christie (or Lord Christie, as he’s often called) stayed a year ago. “I’ve lost his trail. I must find him again,” she insists. Lucie never met him, but she’s heard about him from another employee: that he left big tips, that he was often there with a girl by the name of Stern, that he only came to the hotel after visiting a nearby hostess club called the Rumba. Leni decides to seek further information there, and she also hires Lucie to investigate. To anyone familiar with noir conventions, it should come as no great surprise that Leni turns out to be a femme fatale — but the form that takes isn’t quite so conventional.