Reverse Shot’s Take One symposium (RS #17) last year inaugurated a new series focused on examining the fundamentals of film form. We gave our writers a challenge: pick a single, memorable shot and use it as a springboard for reconsidering a film, filmmaker, or even cinema itself. We didn’t in any way expect that the moratorium on entire films would prove to be a limiting factor, but we may also have underestimated the ingenuity of our writers—everyone brought their best to bear, making Take One a success that far exceeded our wildest expectations. Exciting, but maybe we went a little easy on them. This time around, we upped the ante.