What seems to make the circle such a compelling social shape in French cinema? Think not only of this shot above from Pravda, but the traffic jam in Week End, the ending of Tati's Playtime, the famous moment in Le Crime de M. Lange, or (at least once) in Guy Debord's Critique de la séparation ('61) a pre-Godard 360-degrees pan. Whether inscribed by the camera's movement or identified from an aerial perspective, there's something there ...
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