Andy Jurgensen’s cutting on One Battle After Another turns a sprawling war drama into a relentless, emotionally coherent experience, which is why his work stands out as the film editing winner at the 2026 Oscars. His approach fuses classical continuity with nervy, modern rhythms so that every battle feels both chaotic and crystal clear.
Why the editing in One Battle After Another stands out
The film is built around a series of engagements that could easily blur into one another, but Jurgensen structures them as distinct emotional chapters rather than interchangeable set‑pieces. Each battle has its own internal rhythm, visual motif and character objective, so the audience always understands who is fighting for what, and what is at stake in that moment. The pacing shifts constantly between long, suffocating builds and brutally short bursts of violence, mirroring the characters’ psychological states instead of just showcasing action for its own sake. Throughout, he intercuts the front lines with command‑tent strategy and intimate character beats, letting us feel the cost of each decision in real time.
From a technical standpoint, the editing balances geography and subjectivity with precision. Wide shots are used sparingly but strategically to re‑anchor the viewer in space before plunging back into handheld chaos and tight close‑ups, so the audience never gets lost even when the characters do. Sound and image are cut together to create a tactile sense of impact: shells land a few frames before we see the explosion, or a cut to silence punctuates a moment of trauma, making the viewer feel each shock in their body. Dialogue scenes are cut with equal care, often holding a beat longer on reaction shots to underline shifting loyalties and unspoken doubts, which pays off later in the battle sequences when those fractures explode into action.
Crucially, Jurgensen uses ellipsis and cross‑cutting to chart character arcs as much as plot. We see leaders harden, soldiers break and alliances reshape not through expository dialogue but through how long we stay on their faces, what moments are juxtaposed, and which actions we are allowed to witness versus which are skipped over. That editorial discipline gives the film a sense of inevitability: every clash feels like the logical consequence of earlier choices, so the final act lands with tragic weight rather than empty spectacle. Taken together, his work on One Battle After Another is a showcase in how film editing can sculpt time, tension and emotion, making his 2026 Academy Award for Best Film Editing feel not just deserved but essential to why the film works.
If you are a filmmaker or just an aspiring one, you can learn filmmaking by purchasing this book. Get it from our shop , Amazon or Barnes & Noble.
This article contains affiliate links. If you click and make a purchase, we may receive a commission. This is at no additional cost to you. Thank you for your support!
🎥 Follow The Hidden Review!
Stay ahead with the latest news, reviews, and interviews. Gain tips from our Blog and exclusive insights. Get behind-the-scenes updates on movies, TV shows, and more!
📌 Don’t miss out—hit that subscribe button and tap the bell for notifications. 🔔
🔍 Stay in the know with The Hidden Review:
✨ Discover what’s hidden, only with The Hidden Review.
©2026 The Hidden Review