At first blush, film and philosophy appear to be uneasy bedfellows. Going to the movies and having a philosophical conversation seem to share little in common. Philosophers feature very rarely in films, though it is usually intriguing when they do. In a memorable scene from Jean-Luc Godard’s Vivre sa vie (1962), for example, the beautiful Nana [Anna Karina] engages a ‘real life’ philosopher [Brice Parain] in conversation at a café. They talk of the necessity to talk, the difficulty of saying what one means, the way speech and action conflict, whether one can speak and live at once. At one point during the philosopher’s monologue, Nana turns to the camera, addressing us with her ambiguous, mesmerizing gaze. Her gesture is simple but poses many questions: What is this experience we call ‘cinema’? How are film and philosophy related? Can their relationship be a true meeting of minds (and bodies)? Can films ‘do’ philosophy?