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

There are countless ways to edit a film. Sometimes, the most direct, linear approach is best—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 of editing: it can elevate the texture of a film and build suspense through contrast. So what exactly is parallel editing in movies, and how should it be used?

Definition of Parallel Editing in Film

If you’ve spent any time in post‑production, you’ve probably heard the term “parallel editing.” It comes up a lot, but people aren’t always precise about what it actually means.

So what does parallel editing refer to?

Parallel editing is an editing technique in which two or more different scenes are intercut to imply that they are happening at the same time. It can also refer to intercutting between two or more different actions occurring within a longer single scene.

Parallel Editing vs. Cross‑Cutting

The definition of parallel editing may sound familiar. That’s because it’s very similar to cross‑cutting, and many people use these terms interchangeably. In fact, there is a difference.

Cross‑cutting refers to intercutting between multiple scenes, but it does not necessarily imply that these 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 mission. As they discuss how to infiltrate a highly secure facility, director Christopher McQuarrie and editor Eddie Hamilton use cross‑cutting to depict their plan:

This is cross‑cutting rather than parallel editing because the cross‑cutting is not intended to suggest that the two scenes are happening at the same time. In fact, the scene that shows their plan never actually occurs.

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

Here, Eisenstein pioneered the use of parallel editing within a single scene. He intercuts the chaotic massacre of civilians 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 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 hard to convey that they are occurring at the same time.

But beyond this primary purpose, parallel editing serves other functions.

Cutting between different scenes can increase suspense by stretching out the timeline of events, thereby 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 shows us the victims.

Interweaving these three scenes also deepens the film’s exploration of its core themes: the tragedy of ordinary people caught in war, the level of commitment demanded by guerrilla warfare, and the disparities of wealth between the French and the Algerians.

All the while, we hold our breath, waiting for the explosions.

While parallel editing can be used to build suspense and slow the pace, it can also accelerate the rhythm. This is especially useful in action films, where cutting between multiple locations can heighten the impact of the action.

Christopher Nolan is a master of using parallel editing to achieve this effect. He likes to integrate different scenes into a tightly woven, energetic rhythm. Perhaps the peak of this approach can be seen in Oppenheimer, a film heavy on dialogue that nonetheless feels like an action movie thanks to its near‑constant use of cross‑cutting and parallel editing.

Parallel editing is also well‑suited to juxtaposition and contrast. This technique forces the audience to compare and contrast the multiple scenes presented to them.

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 looking for it, you’ll see parallel editing everywhere. Here are a few films that use parallel editing for exactly the reasons we’ve just discussed.

In the climactic ending of his groundbreaking thriller, Jonathan Demme uses parallel editing masterfully to create intense suspense. But it also delivers an unexpected twist: we think the heavily armed SWAT team is going to capture the serial killer, but it turns out to be Clarice instead.

Clint Eastwood’s American Sniper contains many nerve‑racking moments, but perhaps none is more harrowing than the opening scene. Eastwood uses parallel editing to place Chris Kyle in an agonizing moral dilemma and to establish the tone for an already brutal film.

We’ve already mentioned Nolan’s fondness for this technique, but we have to single out a specific sequence in Inception. It perfectly embodies Nolan’s approach to parallel editing. The intercut scenes are linked by direct causality: every time the van moves, we feel a jolt of tension because we know it makes the dream world more dangerous.