All writing, all media is a relation with its inscription material. For the most part cinema has been constrained to shot followed by shot followed by shot.
Yes, there was Abel Gance's multi-screen epic, 'Napoleon', Warhol's, 'Chelsea Girls' and of course numerous multi-screen Installation films coming from the art world, beautiful works of Doug Aitken, Sherin Nashat and many others.
Installation films for the most part distribute themselves across multiple screens not sequence as tableaux, as multiple moments in a recontextualizing mise-en-scene.
Lev Manovich's, 'soft cinema' never quit gets to a mise-en-scene of the multiple or a montage that is simultaneously a mise-en-scene but rather puts forward this idea of co-presence'. Nor is he working with direct sound like Straub-Huillet, but ADR sound.
This multiple mise-en-scene is something very different than permutations - it has a kind of interior logic, a between shots, a recasting of shots, a simultaneity of shots that gives forth a shot distinctness and an at-once of a mise-en-scene of the shot sequence.
Software and computation allows for a new cinema screen, a distinctly written screen.
The cineaste today must write her cinema instrument to play and conceive a new cinema.