A patient shot of a damp London metro platform opens Anastasia Mischenko's superlative short film Moira. It's a shot that instantly evokes the static-adroit Euro-cinema of early 2000s Bruno Dumont, and the more recent work of Milagros Mumenthaler (The Currents). A woman leaves the platform and returns home to discover her partner in the middle of vocal sex. She stands in the threshold of the doorway, not entirely in the house, while the camera holds on her face as she processes the sounds coming from the bedroom upstairs. She leaves and makes her way across London on transit, through bleak, partially-desaturated autumn fields, bricked alleyways, and at one point through the Greenwich foot-tunnel (under the Thames) in all its curved walls and fluorescent lit glory. The...
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