Every cut is a form of judgment, whether it takes place on the set or in the editing room. A cut reveals what matters and what doesn’t. It delineates the essential from the non-essential. To examine the cuts of a filmmaker is to uncover an approach to cinema.
The happenstance of Vittorio De Sica’s Terminal Station and David O. Selznick’s Indiscretion of an American Wife offers a rare opportunity to compare two cuts of the same film from a leading figure of neorealism and a leading figure of Hollywood.
If neorealism exists, it is in contrast to the dominant approach to moviemaking, shaped and exemplified by Hollywood. In comparing Terminal Station to Indiscretion of an American Wife, we must ask, What difference does a cut make?
In a future where a failed global-warming experiment kills off most life on the planet, a class system evolves aboard the Snowpiercer, a train that travels around the globe via a perpetual-motion engine.
Jack Harper (Tom Cruise) is one of the last few drone repairmen stationed on Earth. Part of a massive operation to extract vital resources after decades of war with a terrifying threat known as the Scavs, Jack’s mission is nearly complete.