Editors have quite a lot of control over matching character's eyelines, shaping the perspective of the story and how reliably narrators are presented.
Or at least that's the theory.
A lot of the execution of this capability depends on what's in the footage that you're handed, but a substantial amount of it can be created from scratch in the edit suite:
A character looks at something, we see what they see - or at least that's what 'we' the audience, assume when the editor cuts from them looking off camera, to a shot of something else.
But it may all be manipulation.
Anyway, these interesting topics and a few others, are what we're looking at in today's issue of Cut/daily.