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?
Young princess Anna of Arendelle dreams about finding true love at her sister Elsa’s coronation. Fate takes her on a dangerous journey in an attempt to end the eternal winter that has fallen over the kingdom.
A series of brutal murders puts the lives of three men on a collision course: The father of the latest victim now out for revenge, a vigilante police detective operating outside the boundaries of law, and the main suspect in the killings - a religious studies teacher arrested and released due to a police blunder.