As a key stylistic movement of the silent film era, what is often referred to as ‘French Impressionism’ had a massive influence on the cinema of the subsequent period. With *Brumes d’automne* and *La glace à trois faces*, the programme brings together two outstanding examples that provided significant impetus for the cinematic portrayal of subjective moods. Whilst Kirsanoff’s short film manages to convey the inner worlds of its female character entirely without a plot, Epstein embeds hers within a nested narrative structure that shifts nonchalantly between different temporal and spatial planes. Three women are pining for the same frivolous bon vivant. Can this end well?