The best thing in an otherwise ordinary film is this simple one-shot device for showing a plane journey from Paris to an outpost in Mali.
The other maps in the film are far less interesting:
338/ The Laughing Man [Der lachende Mann - Bekenntnisse eines Mörders] (Walter Heynowski & Gerhard Scheumann1966)
An explorer's map is the narrative pretext, but other than the cinemap of the journey across Africa, which the film returns to twice, the only map we see is this:
... and a glimpse of a globe:
After pointing to relevant locales on the map of France, Moullet's New Wave documentary (reflexive, intertextual, montage-driven, jumpcutting) about abandoned or near-abandoned villages uses regional maps to fix exactly the places filmed, and to illustrate movement from one place to another:
Two maps in the mise-en-scène, in schoolrooms, serve as counterpoint to the maps in the montage: