D'Est (Akerman, 1993)
But the initial dread I felt was that of the tourist, discomforted by an unexpected climate, a different way of negotiating crowds, or making it across town. The squat architecture of Moscow lends itself to a certain mythic eeriness in the winter months. As the film slowly moves towards Moscow, these milling groups of people Akerman are filming start to become denser and less interested in her tracking camera. The lines become longer even if the railway stations look grander.