Over a year after Adèle Haenel and Noémie Merlant loosed each other’s corsets and fell in love in a French Cannes film, and less than a week before Saoirse Ronan and Kate Winslet are due to do the same in coastal England at TIFF, Katherine Waterston and Vanessa Kirby play American, mid-19th century secret lesbian lovers in Mona Fastvold‘s Venice competition title “The World to Come,” a beautiful and quiet, seasons-spanning tale of poetry and pining pioneerwomen. Set in 1850s rural upstate New York, it’s delivered in careful, spare 16mm that echoes, in its artisanal, handcrafted loveliness, the painstaking, slightly crooked hand-written calligraphy in which the film’s titles and intertitles are written.