Editing: Pan's Labyrinth and City of God

Transitions - there are some dissolves but perhaps the most noticeable transition is the wipe - particularly evident as the director crosscuts between Vidal's men on horses hunting down the rebels once they spot their fire at the same time that Ofelia is completing the first of her three tasks - getting the key from the frog in the withered fig tree. The wipes are created via pans and the movement of characters within the frame; as they pass, for example, trees the camera pan past the trees acts as a wipe transitioning from the soldiers to Ofelia (or vice versa) - the implication is that both events are taking place at the same time (and that they are somehow connected). The wipes are very noticeable (almost the opposite of conventional continuity editing which is designed not to draw attention to itself) and reinforce the stylistic fantasy aesthetic of the film - also support the gliding camerawork that foregrounds the fantasy aesthetic.