The GSFF26 programme as a site. 152 films in screening order, day by day. The centre is the middle of the window and closes in as you read. A reel of every still runs beside a ledger of what is on screen.

The mark, the rule and twelve films on one poster. Films fill the cells in screening order or by runtime, so how far a card turns tells you how long the film is.

The mark plus anything you add, such as dates, venues or index text. Each object takes a span of cells and turns by where it sits. Any object can refuse the rule.

Vinyl in a cinema lobby. The centre of the room is the viewpoint, so each sign is cut to the keystone that makes it read square from there. Signs that run into a corner are cut in two and wrap. From the centre they are one flat card again.

Three screen studies. The mark tours the corners; the viewpoint drifts while nothing moves; a ten-second ident in hard cuts.

Five A5 covers for GSFF26, with spines: the mark in a corner, the index of all 152 films, the opening film, the 24 letters before alignment, and the five days on a diagonal through the centre.

The rule turned on the grid itself. The twenty-four cells are kept and the lines between them bend towards the point the page is looking at — pulled in, pushed out, or seen from a viewpoint that keeps them straight. The outer frame holds, and one cell is allowed to refuse.

A real spread from the catalogue — SC033, its five films, the rail of film numbers down the outer edge with each cell grown to the entry beside it — put through year one's rule. There is one viewpoint, and every block turns away from it by exactly as much as its position demands. Drag the centre and the whole spread re-aims. The rail can refuse and stay level, and it comes out as a PNG.