Presenting Films as Letters emphasizes the individual address—while they are nonetheless directed at an audience. Personal information oscillates with public messages. Various cinematic compositions of salutation, reply, and visual moments create their own long-distance relationships and time crystals. Whether they are love letters in the year of Chernobyl (Thelyia Petrakis, Bella, 2020), or correspondences about the assault on a kibbutz in Israel (Lynne Sachs, States of UnBelonging, 2005) or a reconciliation attempt between a daughter and a father who would have preferred to have a son (Diana Cam Van Nguyen, Love, Dad, 2021), the evening’s screened films nimbly cross the boundaries of fictionalization and authentication.