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The sultry wild child who dominates Ry Russo-Young’s acutely acted “Nobody Walks” is a type of femme fatale more likely to be seen in French cinema than in American movies. When Martine (Olivia Thirlby), a 23-year-old experimental artist from New York with a Jean Seberg pixie haircut, locks eyes with a man she fancies, he is a goner.

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What makes her all the scarier is her refusal to acknowledge her complicity, even to herself, in treacherous sexual power games she initiates mostly out of boredom. Her latest work in progress is an art installation whose centerpiece, a creepy black-and-white film about the social behavior of insects, reflects her blasé amorality.

Ms. Russo-Young’s third feature film, “Nobody Walks” (the title refers to the lack of pedestrians in Los Angeles), has a screenplay she wrote with Lena Dunham (“Girls”). Its production values are minimal, but an excellent cast makes up for what it lacks in polish.

In the most revealing scene, set in a Los Angeles sound studio, Martine puts the moves on Peter (John Krasinski), the handsome, 40ish husband of Julie (Rosemarie DeWitt), a psychotherapist. At the recommendation of a friend, Julie has persuaded Peter, a sound engineer, to help Martine complete the soundtrack for her film. Martine flies in from New York to work with him and is put up in the couple’s pool house.

Peter and Julie are bringing up two children by Julie’s former husband. The oldest is Kolt (India Ennenga), a spoiled 16-year-old who flirts recklessly with her much older Italian teacher and has a crush on Peter’s buff young assistant, David (Rhys Wakefield), who in turn melts at the sight of Martine.

A minor fracas in the studio throws Martine into a tizzy, and she impulsively clings to Peter, burying her head on his shoulder in a burst of tears. The moment drags on uncomfortably until Martine slowly turns her face up to Peter’s in an unspoken demand to be kissed. He resists for a second, then gives in, and they begin a hot little affair conducted right under Julie’s nose.

Although Peter is besotted, Martine, without thinking twice, also hooks up with David. In a frenzy of jealousy, Peter confronts Martine, who sneers, “Dude, you’re married,” then disingenuously accuses him of forcing himself on her while she was only trying to do her work.

These may be high school games, but they can be lethal when played by adults. Nothing escapes Julie, who registers the tiniest tremors in her husband’s behavior. She looks on, tight-lipped, barely maintaining her composure as Peter makes a fool of himself. Her impulse to play tit for tat leads her to consider sleeping with a patient, Billy (Justin Kirk), a whiny, good-looking screenwriter who, during their sessions, confesses his desire in graphic language.

It would be tempting to dismiss “Nobody Walks” as a trivial erotic divertissement, even more so because it doesn’t apply the kind of symbolic gloss found in a ’60s film of serial seduction, like Pasolini’s “Teorema.” Banal as its situation may be, it picks at every scab you may have left over from wounds suffered during the mating games of your youth. You feel the characters’ pangs as they spin out of control, and you are reminded of how easy it is for a careless sexual adventurer to destroy relationships and families on a whim, without even fully realizing it.

“Nobody Walks” is rated R (Under 17 requires accompanying parent or adult guardian) for sexual situations, strong language and drug use.