windmill

His film 'Il Decameron' and other works use windmills as symbolic structures representing the collision between rural tradition and modernity in Italian society.

The Odessa Steps sequence in 'Battleship Potemkin' and his broader cinematic language treat architectural forms like windmills as dynamic, revolutionary symbols of social transformation.

His Danish landscape cinematography frequently features windmills as haunting, liminal spaces that embody psychological dislocation and the tension between human ambition and natural forces.