In his new film Interfears, Jesper Just explores the emotional topography of an actor’s brain. Encaged in an fMRI scanner, the actor (Matt Dillon) is reciting a monologue while the machine captures and presents his brain waves in two and three-dimensional representations. By combining enactments of feelings with fMRI technology, the film turns a clinical gaze at emotions as cultural artifacts and on emotional representations as artificial, whether played out by an actor or depicted by a machine. The claim that emotions are always produced in a socioculturally contaminated environment leads to the major point that emotions in general are in fact to a large degree performative – we can learn to do them right, and we follow protocol because we like to be readable as emotional subjects. The film takes this statement further by letting the actor present a character who has trouble feeling emotions, while at the same time monitoring the actor’s actual brain as it goes through pretended emotions. Here, fiction and anatomy come together highlighting connections between role-playing and everyday affects. If feelings are cultural objects, they can be staged and exhibited; here, they come as moving pictures.