Douglas Hickox’ Les Bicyclettes de Belsize, from 1968, takes the form of a small-scale film musical. A continuous camera journey crosses rooftops, passing windows, chimneys and aerial-perched birds, eventually coming to rest on an idiosyncratically dressed young man, riding a bicycle across the grey expanse of a flat-topped roof. A stylised framing of facial features begins as the young man’s bicycle crashes through face-covered billboard. Main characters meet, sing, and lean in to kiss, faces separated by a glass-fronted shop window, and finally duet al fresco, tightly framed in facial close-up. Viewed in long shot against a gently curving horizon line, two additional young cyclists perpetuate the circularity of amorous encounter, while a top-hatted man on a pennyfarthing provides the film’s final image.