Steakhouse by Špela ČadežKrajnc, Maja (Avtor) Špela ČadežSteakhousepsychological abusemultiplane collage animationhaptic visualityfemale subjectivityCléo from 5 to 7This article examines Špela Čadež’s Steakhouse, a ten-minute animated short, as a formally inventive and politically resonant depiction of psychological abuse in intimate relationships. The film provides a nuanced and impactful portrayal of the cyclical nature of psychological abuse, exposing emotional entrapment through richly textured visual and auditory design. Employing analogue multiplane collage animation and haptic visuality, Steakhouse creates a tactile, immersive experience that evokes emotional suffocation, particularly through the key sequence of smoke. Drawing on Alain Bergala’s conception of cinema as art, it argues that the film’s aesthetic strategies function as a mode of authorship and critical engagement. Grounded in an interdisciplinary approach, it further incorporates Laura U. Marks’ concept of haptic visuality and Sara Ahmed’s notion of “everyday resistance” to explore how subtle gestures become feminist acts of refusal. Although not explicitly framed as a feminist work, Steakhouse critiques patriarchal dynamics embedded in domestic space and labour. Parallels with Agnés Varda’s Cléo from 5 to 7 underscore the role of spatial embodiment in the articulation of female subjectivity. Produced during the pandemic, Steakhouse foregrounds animation’s power to render invisible forms of violence perceptible and to provoke critical reflection through sensory engagement.20262026-03-18 15:14:36Članek v reviji180878UDK: 791.6ISSN pri članku: 2040-0594DOI: 10.1080/17411548.2025.2494923COBISS_ID: 240039683sl