The several maps in this room and the proto-cartographic aerial views we also see suggest that, like many aviation films, La Proie du vent  will manifest, in Teresa Castro's phrase,  'la pensée cartographique des images'. But twenty minutes in, after the aviator crashlands in a Slovakian forest, the film becomes for the last hour something  completely different, a romantic thriller in a sinister castle.

copyright: 'La Proie de l'ombre', René Clair – 1927, La Cinémathèque française