In a thought-provoking video essay, Kogonada exposes the essence of neorealism. He does this on the basis of parallels and differences between Stazione Termini (De Sica) and Indiscretion of an American Wife (O. Selznick). Two montages of the same film with two completely different approaches. Where, according to Kogonada, De Sica focuses on the empty space between the actions, such as Mary Forbes (Jones) walking away from a station counter, O. Selznick cuts tightly and to the point.

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