This paper elucidates how film may offer itself as a tool for both the representation and conception of space that can strengthen an alternative, phenomenological and transcendental position in architecture. The paper underscores that the film camera can work as a kind of amplifier of how we, with our bodies, perceive space and project space. Through an analysis of two films, it points to the medium of film as both a tool and an environment, based on Gernot Böhme’s ‘Raum leiblicher Anwesenheit (Böhme 2006). These films illustrate how the film’s picture frame becomes almost like a skin and through its surface and sound projects both a site and a near-sensual experience simultaneously. The medium of film as both tool and an environment thereby supports an extended sensory-intimate reflection on outer experiences and inner sensations that – in its audio-visual and time-space-based presentation – is close to a human experience. This transference and performance may lead to an extended awareness of touch, as the base for intensive projections of becoming and a new affective architecture.