The image that illustrates the movie is in its best sequence: as with Griffith, it's a screen of the world's occurrence. If we add a frame in which the light passes through variations in the train carriage, we'll have what we can extract from a movie, that in the rest is poorly edited and irrelevant in its observation of materials. Instead of a crossing of the light, we have a crossing of indistinction.
I always enjoy the combination of stable perspective and visual flux that comes from mounted traveling shots, and this movie has some great ones. Wonderful felicities, too: the shadows like piano keys on the floor between the seats, the lens flare floating across the frame in the last shot, the doubling of the window frame like a film projected on the wall. Combines documentary and formalistic pleasure.