“Proshchanie,” Mariya Saakyan’s short film, preceded her first feature, Mayak. There is sparse speech, and Saakyan has had Second Run, which produced the film’s DVD (“Proshchanie” appears as an “extra” with Mayak), not provide English subtitles—a decision that augments its impression as a dream. It may also be described as an elegy—one shorn of sentimental […]