Alia Syed’s galleryPethő, Ágnes film Fatima’s Letter (1992) unfolds a challenging juxtaposition of images and texts, which bring to the fore in their intermedial entanglement an affective encounter with tangible reality and deliver deeply ambivalent sensations regarding the experience of cultural otherness, rootedness and displacement. It employs intermediality as an essentially subversive “minor” variation of the language of film (in Deleuzian terms), releasing uncontrollable “lines of flight” within the cinematic experience. Exhibited alongside installation works of other reputable experimental artists like John Smith and Mark Wallinger, the film reframes the genre of the city symphony in a refreshingly original look at the fluctuation of the big city. Filmed entirely in a London underground station, the kinetic impressions of urban locomotion marked by the duality of mobility and stasis is accompanied by a disembodied voice-over in Urdu and partially obscured English texts. Everything is captured as a photofilmic apparition: the hypnotic flow of superimposed words and images articulates a spectral space of intermedial cinematicity. The film insists on a position of liminality to convey the sensation of intersecting and overlapping realities coexisting within the flux of everyday experiences. The author interprets this sensation in terms of Édouard Glissant’s “poetics of relation” and call for “the right to opacity,” as an acceptance of otherness without the need to be fully translated into another culture.