What Is Parallel Editing in Film? — And Why Do Editors Use It?

There are countless methods of film editing. Sometimes the most direct, most linear way of cutting is the best choice—one scene happens, then the next follows. But at other times, less common editing techniques can bring a sequence to life. Parallel editing is one such distinctive form that can elevate a film’s texture and build suspense through contrast. So what exactly is parallel editing in film, and how should it be used?

Definition of Parallel Editing in Film

If you’ve spent some time in post‑production, you’ve probably heard the term “parallel editing.” It’s mentioned often, but people aren’t always precise about what it actually means.

So what does parallel editing refer to?

Parallel editing is an editing technique that intercuts two or more different scenes in a way that suggests they are happening at the same time. It can also refer to intercutting two or more different actions occurring within a single extended scene.

Parallel Editing vs. Cross‑Cutting

Does the definition of parallel editing sound familiar? That’s because it’s very similar to cross‑cutting, and many people use the two terms interchangeably. In reality, there is a distinction.

Cross‑cutting refers to intercutting multiple scenes, but it doesn’t necessarily imply that those scenes are happening simultaneously. The relationship between cross‑cutting and parallel editing is like that between rectangles and squares: all parallel editing is cross‑cutting, but not all cross‑cutting is parallel editing.

In Mission: Impossible – Rogue Nation, Ethan Hunt and his team face an extremely complex task. As they discuss how to infiltrate a heavily guarded facility, director Christopher McQuarrie and editor Eddie Hamilton use cross‑cutting to present their plan:

This is cross‑cutting rather than parallel editing because the cross‑cutting does not intend to suggest that the two sets of images are unfolding at the same time. In fact, the sequence that depicts their plan never actually occurs.

Now let’s look at one of the most important sequences in film history: the Odessa Steps sequence from Sergei Eisenstein’s Battleship Potemkin.

Here, Eisenstein innovatively uses parallel editing within a single scene. He intercuts the chaotic massacre of the crowd by soldiers with the intimate drama of a mother mourning her dead child. These two events are happening simultaneously, so this instance of cross‑cutting is also an example of parallel editing.

The Odessa Steps sequence perfectly demonstrates the power of parallel editing. Let’s break down some of its uses.

Why Use Parallel Editing?

First and foremost, parallel editing emphasizes simultaneity. If you simply place two scenes back‑to‑back, it’s difficult to convey that they’re occurring at the same time.

But parallel editing has other purposes beyond this primary one.

Cutting between different scenes can increase suspense and stretch out the unfolding of the plot, heightening the audience’s anticipation.

Take a scene from The Battle of Algiers, where the camera cuts between three different rebel bombers.

Here, the parallel narrative greatly intensifies the suspense. We see each woman checking the clock, underscoring the countdown to the explosions. Perhaps more importantly, we see them looking around, which lets us see the victims.

Interweaving these three strands also deepens the film’s exploration of its themes: the tragedy of ordinary people caught up in war, the dedication required for guerrilla warfare, and the economic and social divide between the French and the Algerians.

All the while, we hold our breath, waiting for the bombs to go off.

Although parallel editing can sometimes be used to build suspense and slow the pace, it can also be used to speed things up. This is especially useful in action films, where cutting between multiple locations can increase the impact of action sequences.

Christopher Nolan is a master at using parallel editing to achieve this effect. He likes to weave different scenes together to create a tight, energetic rhythm. Perhaps the pinnacle of this approach can be seen in Oppenheimer, a dialogue‑heavy film that nevertheless feels like an action movie thanks to its near‑constant use of cross‑cutting and parallel editing.

Parallel editing is also excellent for juxtaposition and contrast. The technique forces viewers to compare and contrast multiple scenes presented side by side.

The baptism sequence in The Godfather is one of the most frequently cited examples of this kind of parallel editing:

The juxtaposition here reveals Michael’s inner conflict and can also be read as a critique of the pervasive hypocrisy within organized religion.

Now that we understand why parallel editing is used, let’s look at some more striking examples.

Examples of Parallel Editing

Once you start paying attention, you’ll notice parallel editing everywhere. Here are a few films that use parallel editing for the reasons we’ve just discussed.

Jonathan Demme cleverly uses parallel editing in the climactic finale of his groundbreaking thriller to generate tremendous suspense. But it also delivers a surprising twist—we think the heavily armed SWAT team is closing in on the serial killer, only to discover that it’s actually Clarice.

Clint Eastwood’s American Sniper contains many nerve‑wracking scenes, but perhaps none is more gripping than the opening. Eastwood uses parallel editing to set up an agonizing dilemma for Chris Kyle, while also establishing the tone for an already brutal film.

We’ve already mentioned Nolan’s fondness for this technique, but we have to single out one particular sequence in Inception. It perfectly captures the essence of Nolan’s parallel editing. The intercut scenes are directly linked by cause and effect. Every time the van moves, we feel anxious, because we know it will make the dream world more dangerous.