One thing that's interesting in molinette in close embrace that we don't talk about is that it seems to want to be a little faster.

In open embrace, on a forward/side, typically it can go in this long controlled way. In close embrace, because it's so much smaller, usually it becomes more staccato by stopping.

So that, if you do a quick, quick, slow, then slow becomes a stop where in open embrace that slow goes through. Not only does the distance radically change the follower's styling but it also changes the musical dynamic within the same timing.