Building on the conceptual foundation of gesture as a trans-species phenomenon, this chapter focuses on the material and affective capacities of film itself. Drawing from key theories of the filmic body—particularly those of Vivian Sobchack, Christiane Voss, and Raymond Bellour—it posits film as a gesturing body capable of producing, transmitting, and transforming affective relations. The chapter explores how films embody temporality, illusion, and vitality, and how they engage viewers through sensorial resonance rather than narrative closure. Film is conceived of not simply as a representation of gestures but a gestural presence that co-constitutes the field of experience. Through the lens of Daniel Stern’s dynamic forms of vitality, the chapter sharpens a theoretical framework for attending to cinematic moments that mobilize the expressive forces of life itself.