I consider some recent neuroscientific work on mirror neurons, film, and art as another example of the over-confidence in natural science that motivates my serious pessimism. In the first section, I elucidate what mirror neurons are, what aspects of human behavior they are thought to explain, and some of the many criticisms of mirror neuron research found within neuroscience and the philosophy of mind. As in the case of evolutionary psychology examined in the previous chapter, film scholars who appeal to the mirror neuron paradigm don’t substantially engage with these criticisms of it. Hence, they do not consider the potential pitfalls of applying mirror neuron research to explain cinematic and artistic phenomena such as affective empathy, some of which I point to in the second section in the work of film theorist Murray Smith and others. In the third section, I address the collaboration of Vittorio Gallese, one of the neuroscientists who discovered mirror neurons, and Michel Guerra, a film theorist. I show, using examples from the films of Alfred Hitchcock, Stanley Kubrick, and others, that the work of Gallese and Guerra involves a considerable over-extension of the mirror neuron paradigm.