It’s probably the most used sequence of shot types in film: shot, then the reverse. A shot showing a character looking at something, then the reverse to show what they’re looking at. A shot to show a character speaking to someone, then a reverse to show how the other person responds. It’s a sequence practically invisible to audiences due it’s ubiquity and familiarity.
But the nuances of it’s use will make or break a film, defining it’s pacing and tone. In his most recent Every Frame a Painting, Tony Zhou analyzes the masterful use of shot/reverse shot in Coen Brothers films. He examines their framing and timing of cuts among other things that differentiate their use from more amateurish examples, including from a film they wrote but didn’t direct. As always, Zhou’s insight and affability make his video essays edifying and entertaining. Check it out.