Multiple independent or interwoven storylines told in parallel — different characters, locations, timelines. Tarantino, González Iñárritu, PT Anderson perfected it; demands rigorous editorial mapping.
You need multiple stories running simultaneously, intersecting, or remaining completely isolated — that's the core task. Not simply cutting several scenes next to each other, but establishing a rhythm system that navigates the viewer through different worlds without them losing their bearings. The biggest challenge lies in editing planning: each story needs its own visual-narrative markers — color grading, camera movement, sound design — so the brain immediately grasps which timeline we're switching to.
On set, this means you don't think linearly. A scene from Story A doesn't automatically follow a second scene from Story A. You plan cutting sequences that build tension through parallelization. While Character X is having a conversation, Character Y might be experiencing the exact opposite in a completely different location — and the jump cut between the two creates dramatic energy. This only works if you know precisely in the storyboard and shooting schedule which scenes will eventually land next to each other.
Practical points during shooting: Keep the visual composition consistent in each story — if Story A is looser and more wide-angle, Story B should appear tighter and more formal. This helps the eye anticipate cuts. Consider how you organize timecodes — some teams work with separate tape names for each storyline, not by shooting day. During editing itself: use cross-cutting consciously. A cut from one story to another is not a random jump — it has a rhythmic, thematic, or emotional function. Often, the punchline is that two isolated moments suddenly relate to each other.
Timing is crucial. If you stay in one story for too long, the viewer loses track of the others. Too many cuts, and the stories become fragmented. There's no universal rule — it depends on audience empathy, how invested they are in each storyline. Character-focused multiple narratives (as in ensemble dramas) require different rhythms than location-focused or time-focused structures. Ultimately, you pay for this complexity with massive pre-production — script, storyboard, and editing mock-ups are not optional, but essential.