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This contribution aims to analyse one aesthetic element that distinguishes home movies: the blurred image. First, it briefly traces the history of this type of cinema, emphasising its ‘poorly made’ aspect with the intention of investigating the effects this may have on spectators. To do so, Jean-Louis Baudry’s theory of dispositif is revised, highlighting the primary role played by invisibility—specifically that of technological tools—in eliciting “ideological effects” in the spectator. After emphasising the historical and formal relevance of the ‘break’ of the dispositif, home movies’ ‘errors’ are interpreted not only as a form of visibility of the technical apparatus, but also as a way of freeing the analysis of this element from its role in breaking a cinematic illusion. In conclusion, two hypotheses are put forward: a tactile effect and a technological wonder effect that the ‘poor’ image could provoke in home movies’ viewer.