Chantal Akerman’s D’Est (From the East) opens with a dark blue nighttime shot of a street lamp and some power-lines, an empty road underneath them. The title appears in the centre of the screen in bold white letters, some kind of simple and elegant font. This is followed, a few still minutes later, by a shot of another street, this one in daylight, framed by a window with a green or yellow curtain slowly flapping in the wind. Through the…