De molens die juichen en weenen

After Le moulin maudit, Machin delivers the final word as undisputed master of the windmill-centric revenge genre. Looking past the unconventional subject matter, it's a very solidly done picture: Machin's great framing, the transition from day to night (as emphasized by lighting and some quite impressive use of coloring for 1912) and the sheer simplicity of the story all combine to make for a strikingly moody and atmospheric six minutes with some surprisingly memorable images.