That’s a pretty sharp observation. I’ve always thought that filmmakers tend to choose tree types, light, and composition to echo the cultural climate of their time. In the 1920s, you see a lot of sweeping forest shots with loose, airy light that feels optimistic, whereas the grim war films of the 1940s use dense, foreboding woods that mirror the uncertainty of the era. It’s a subtle cue, but when you notice it, the connection between nature and history becomes almost unmistakable.