This article provides an embodied study of the film style of the French filmmaker Éric Rohmer. Drawing on insights from cognitive linguistics, I first show how dynamic patterns of containment shape human thinking about relationships, a concept central to Rohmer's cinema. Second, I consider the question of how film might elicit this spatial thinking through the use of such cinematic devices as mobile framing and fixed-frame movement. Third, using Rohmer's Comedies and Proverbs series as a case study, I demonstrate how the filmmaker applies these devices—and with them the spatial thinking they initiate—systemically to shape the relationships of his films visually. Lastly, I use the results of this analysis to provide discussion and suggestions for future research.