Another Gaze Journal

In Basma al-Sharif's Morgenkreis (Morning Circle, 2025), the camera adopts the point of view of an immigration officer, circling an Armenian father in his flat in present-day Berlin. “WHY DID YOU COME TO GERMANY?” demands an unidentified voiceover in German, its hostility amplified by the capitalisation of the subtitles. “HAVE YOU TRIED LEARNING GERMAN, MR ABRAHAMYAN?” The interrogation continues.

Laida Lertxundi's films interweave natural and social environments. Stemming from her determination to push the limits of form and to explore the sensuality of moving images, Lertxundi's films stretch the medium in order to defamiliarise its components, thereby questioning cinema’s most basic assumptions: narrative, performance, script. Lertxundi's process is eminently open and collaborative, allowing for poetic ruptures that render the world in both familiar and unfamiliar terms.

Structured around a letter to her cat, Henry, Marthe Peters’s Henry Is a Girl Who Likes to Sleep (2025) is a portrait of intimacy and the complexities of animal companionship. The film takes place, for the most part, inside Peters’s domestic space, where a tactile world of rest, care and exploration unfolds: duvets and blankets of various colours and patterns; plastic animal miniatures and shimmering snail trails.

Viktoria Schmid’s latest film, Rojo Žalia Blau (2025), is an extension of the artist-filmmaker’s practice of recreating early film colour systems. The film is a triptych, shot across three countries – Lithuania, the filmmaker’s native Austria, and Spain, in that order – as she travelled to work on other projects between 2019 and 2024.

Concealed and Denied (2026), which filmmaker Jordan Lord describes as an ‘archival documentary without archival footage’, begins with a declaration of its own procedure: The screen is black. Throughout this film, I will describe a series of films, audio clips, and writing. All of the words I quote will be read aloud in my voice. [...] When the source material changes, a fragment of sound will play. The colour on screen will change according to the type of media. Then, the screen turns orange.

The adaptation sets out to make correspondences clear… The function of the theatre is to explode fears by bringing them out into the light of day… – Sylvia Wynter Onyeka Igwe’s A Radical Duet (2023) brings the creative process sharply into focus. Halfway through the film, which hovers between self-reflexive documentary and speculative historical fiction, a circular pan illuminates a rehearsal space.

A selection of Paula Gaitàn's films will be available to watch on Another Screen later in the week. In 2023, Maria Chiaretti and I ran into each other as I was walking home from a cinema in São Paulo where I’d watched Paula Gaitán’s Luz nos trópicos (Light in the Tropics, 2020). She hadn’t yet read the message I’d sent as I was leaving the cinema: ‘WTF. Just saw Luz nos Trópicos.

Luis Buñuel’s adaptation of Wuthering Heights, Abismos de pasión (1954) opens with a declaration of fidelity: ‘Above all, this picture tries to remain true to the spirit of Emily Brontë’s novel.’ By contrast,“Wuthering Heights”, written and directed by Emerald Fennell, refuses such constraints. Referring to those quotation marks in the title, and the detachment and looseness they imply, Fennell has said in an interview that ‘you can’t adapt a book as dense and complicated and difficult as this’.

Another Gaze was founded in 2016 by two recent graduates who were motivated by an enthusiasm for women’s films and feminist theory. Unexpectedly to us, the journal took off – but, in retrospect, this reflected the times. With the newly politicised publics that multiplied in the 2010s (Me Too, of course, was one movement among them), there was an appetite for more than shallow appropriations of feminism, an appetite for more nuanced engagement with the cultural sphere.

Niki de Saint Phalle hated laundry. When she was twelve years old, there was a decisive moment in the linen closet with her mother. ‘She was counting out the sheets and the towels,’ the artist later recalled. ‘I will never do that, I told her… Never will I spend time doing anything like that.’Niki de Saint Phalle, ‘Feminism’ [undated] in Nicole Rudick, What Is Now Known Was Once Only Imagined: An (Auto)biography by Niki de Saint Phalle (New York: Siglio Press, 2022), 128.