Marrying cinéma vérité with public recklessness, Claude Lelouch’s C’était un rendez-vous stuns not only as a visceral drive through Paris at a breakneck pace but also as filmmaking that can justifiably be labelled dangerous. Set to the viciously mechanical soundtrack of a roaring engine, Lelouch’s notorious 1976 short film instills its images with a steady kinetic energy and provides—along with questions of “realism” and ethics in art—a substantially vicarious thrill.