In LIMITE, close shots predominate: the close ups , which reveal the reactions and the soul states of the characters, and the detail shots , which distinguish a fragment of a face or a body. General shots are very rare . An example of this aesthetics of fragmentation is the cinema sequence . The spectators are only seen through parts of the face [eyes and mainly mouths], never through the whole body. Another example is the sequence , in which the passers-by are framed from waist downwards.
The shots arrangement of LIMITE is based on the composition principle that privileges the detail. There is very little dramatic action in the film, and this explains the shortage of medium shots ,  and assembly shots , . Shot  exemplifies almost all shots (it begins in general shot and ends in detail shot in contre-plongée).
There are several contre-plongée shots , , , , often in inclined angles and some in plongée , , , ,  and .
The rigorous photographic composition assures a formal relation of the shots which lasts during the film, keeping the same force lines.
In LIMITE the movements of the cam in diagonal and in perpendicular directions can be observed , , [286a], , , .
The circular element appears in detail shots of objects in counterpoint to the diagonal force lines strongly marked in the photography , , , .
The cam also presents circular movements in vertical and horizontal axis , ,  and .
The elements of nature also appear strongly marked: vegetation , , , , ; wind ,  and ; and water , , , , , [422a],  and .
In the atemporal limited narrative of LIMITE, the action of the elements evokes the time cycle, as well as the rotation of the handle, of the train’s wheel and of the cam.