Since the very outset, Punto de Vista wished to embrace one of film festivals' foremost responsibilities: to perform a didactic function aimed at the wider public and rescue the memory of film from oblivion. Retrospectives was the section which took up the challenge.
Each year, Punto de Vista puts classics in the spotlight, gives audiences another chance to view still-growing filmographies or airs the work of little known schools, trends or areas of film creation. These retrospectives come to represent the epicentre of the festival and mark its tone, ambition and spirit.
These seasons may revolve around a specific director or focus on a country or a movement. In 2005, for example, it was the turn of French photographer and director Raymond Depardon. The next year, it was Japan. The cinema of a thousand years retrospective presented classics from the last 60 years of Japanese documentary filmmaking.
Other seasons may centre on a common denominator, be it a theme, an anniversary, a commemoration or a historical event. Seasons like these take a side-on look at the history of the documentary. Essay-film was the motif chosen for the section in 2007. Under the title, The thinking form, the season was the first retrospective on contemporary essay-film ever held in Spain and one of the first in Europe.
Finally, there is also room for personal seasons, in which well-known figures, akin or not to the world of film, select films which they admire, revealing their own personalities through their choice in the form of moving pictures.